Mavin Khoo | Photo Courtesy: Iyyappan
For artists and audiences alike, the constant hustle and bustle of Margazhi in Chennai is powerful, interspersed with places or moments of peace and quiet immersion. It could be a reassuring first landing on that jive note of a raga in Kachhi, an unexpected choreographic improvisation in an oft-repeated composition, a moment of internalization in a workshop, or a few echoing words from a keynote address at a conference. Can. Curated by Sparsh Arts Foundation under the leadership of Vidya Subramaniam, “Where Music Meets Dance”, a session on musicality in dance moderated by Mavin Khoo and Brinda Manikavasakan, was one such serene experience. The session held at Sparsh Studio in Neelangaraai, Chennai was a part of a series of ongoing initiatives to promote dialogue between different classifications within the art.
The coming together of two artists whose art defies introduction was in itself a matter of anticipation. With a varnam in Shankarabharanam and an Ashtapadi in Shuddha Sarang as the primary context of performance and discussion, and quick excerpts from Khamas and Bhairavi for comparison, the interaction between dance and music in the session flowed slowly like a river. What is certain is its course.
Brinda Manikavasakan Photo Credit: Special Arrangement
After a few quality conversations with Mavin Khoo, one will notice that he reiterates certain rules and ideas. Yet, every time they come across as fresh and engaging in context, as does their acting. In its subtlety, devoid of unique expressions and metaphors, his acting is new every time because he is there, in that moment, and that is what makes him absolutely alive. Some of the ideas that recur in his conversations and discourses are embarrassing, vague ones, but the word musicality, and its immeasurable impact on his dance, is a constant refrain. Every word spoken by him was effortlessly translated and performed by Brinda in music.
Mavin shared, “I often look at the urgency of how cleverly the choreography can be done, rather than stepping back and checking if we’re in it musically.” Speaking from personal experience, he further explained that two aspects were important to his process. One, to be absorbed in the raga and the composer’s voice, their beauty and spontaneous choices, and second, to find childlike joy and potential in every note of the raga. Moving back and forth between dance technique and musicality, he emphasized the stylization of pedestrian emotion as well as stylistic gestures, thereby coming to grips with the ownership of identity as something that is lived and not learned.
Vidya Subramaniam Photo Credit: Special Arrangement
Researchers Julien Brody and Elaine Lobell argue in their journal on integrating somatic principles into dance technique that feeling is not always reliable, and that a person who is addicted begins to feel right. mavinLanded on exactly the same idea, speaking about certain mannerisms in acting that are habitual, that take away from accuracy. “It has a temperature. I don’t know if it means anything,” he said. The meaning of this became clear when he displayed a distinct and unique shade of makeup for each note of Shankarabharanam.
From a musician’s perspective, with Shankarabharanam as an example, Brinda talked about the range of the journey from his first varnam in the raga to the vastness in terms of history, compositions and therefore space for exploration. He explained how the first note ‘Sa’ is unique in itself in different compositions, in terms of actions, and how it adds a whole new dimension to the Sahithyam raga. Speaking about the terms of cooperation Mavin said, “I lead without regret, but I also surrender”. Brinda also agreed and said that she follows repetitions and variations while singing for dance, but sometimes lets the melody take over. He said that he does not feel any deficiency in his mentality in cooperation.
The session was summarized with some concluding thoughts. As important as immersion is for the dancer, it is equally important to maintain objectivity in the process. Although it is not necessary to dance solely for the audience, it is important to understand that the responsibility of the dancer is to enable the audience to associate their own memory or experience with the dance. The questions raised after the session were few, but it was clear that returning home from the session there were indeed a lot of questions on one’s choices as a dancer.
published – January 21, 2025 02:05 PM IST
