“Natyadarshan Seminar”- Sensuality In Indian Dance

Here is an excerpt from the Lec-Dem by T. M. Krishna on the first (out of 3 days) of the Natyadarshan conference organized by Kartik fine Arts…

Mr. Ram, who attended the conference sums up the lec dem in his blog

The following is an excerpt from his report published with his consent.

“Vidwan T.M. Krishna (TMK) presented a lec dem on “Sensuality in (Indian) Music”, accompanied by Vid. Amritha Murali on the violin and Vid K. Arun Prakash on the mrudangam.”

General observations:

  • Music being an abstract and ‘non-physical’ form, putting experiences into words and conveying them through music is much harder than conveying the same through dance where you are actually watching the emotion(s) being conveyed
  • Whether it is dance or music, what is aesthetic and what is not is completely dependent on the individual performer. It is so very subjective. It depends on the background of the individual, what he/she has been exposed to, where he/she lives etc. What is sensual and what is vulgar is again a subjective thing

Difference between singing for music and singing for dance:

  • When a person sings for dance, the sensuality in the voice is interwoven with the sensuality of the dancer. Both have to draw from each other. The musician has to see what the dancer is doing and the dancer has to be sensitive musically and not just lyrically to bring in the sensuality.
  • Whereas at a vocal concert is a totally different ball game. The experience here is not drawn from the audience. The singer has to first experience the sensuality and only then does the transfer happen to the audience. Only then does the audience feel it. How much a singer internalizes his music and how much skill he/she has also matters

Sensuality in lyrics:

  • Lyrics can drive sensuality (ex. kaNNanE en kaNavan, padams, javaLis). But it’s not necessary that for a song to be sensual, the sensuality must be driven from the lyrics alone
  • There is sensuality in pure music itself, sans lyrics
  • When you sing with an approach of gay abandon, you are bound to move to a state where you experience a high level of sensuality yourself and eventually end up transferring that experience to the audience too.

Mr Ram has also captured T.M. Krishna’s views on:

  • Sensuality and the composer:
  • Sensuality of ragas
  • Sensuality and the system of music
  • Sensuality and pace
  • Sensuality and percussion
  • Sensuality and vulgarity

He infers that “Sensuality in music and the way it is portrayed is completely a reflection of the individual who is singing.”

To read the complete post please click here

Here is a previous post in this blog that relates to the conference.

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