{"id":25821,"date":"2024-12-01T17:00:00","date_gmt":"2024-12-01T11:30:00","guid":{"rendered":"https:\/\/medialit.in\/thevoices\/?p=25821"},"modified":"2024-12-07T21:24:59","modified_gmt":"2024-12-07T15:54:59","slug":"international-festival-on-indian-dance-uncovering-multiple-dimensions-of-indian-dance","status":"publish","type":"post","link":"https:\/\/medialit.in\/thevoices\/international-festival-on-indian-dance-uncovering-multiple-dimensions-of-indian-dance\/","title":{"rendered":"International Festival On Indian Dance: Uncovering multiple dimensions of Indian Dance"},"content":{"rendered":"

The International Festival On Indian Dance, New Delhi, held from 16-21 October, showcased myriad nuances of artistic expression through the kaleidoscope of Indian dances. Pushing the boundaries of traditional dance forms, the six-day mega dance festival opened doors for cross-disciplinary projects and sparked new collaborations between technologists, economists, and artists.<\/p>\n

Organised by the Sangeet Natak Akademi (SNA), the apex body of the Government of India, in collaboration with the Indian Council for Cultural Relations (ICCR), the festival had dance troupes from 16 countries participating in it. Apart from the diverse range of performances, the festival also facilitated discussions, panel interactions, and presentations of as many as 400 research papers on various themes relating to Indian dance, including the \u2018Creative Ecosystem\u2019. Another highlight was the juxtaposition of the traditional dance forms with artificial intelligence (AI) to encourage digital and tech-based collaborations in future dance performances.<\/p>\n

Dr. Sandhya Purecha<\/strong>, a performing academician, Bharatnatyam exponent, and the current Sangeet Natak Akademi chairperson, spoke to The Voices<\/strong> about the multi-versatility of the dance form and the outcome of the multifaceted deliberations held at the event. An excerpt:<\/p>\n

The Voices<\/strong>: What was the idea behind the International Festival of Indian Dance?<\/p>\n

Dr. Sandhya Purecha<\/strong>: My vision was to bring all Indian dance forms under one umbrella and initiate an erudite and artistic dialogue that would build the future of Indian dance into a more cohesive and sustainable environment. It was important to document the transformations post-independence and discuss the way forward through intellectual discussions between scholars, dance practitioners, art critics, and other stakeholders. The overarching aims included preserving and promoting Indian dance forms by bringing attention to India’s rich cultural heritage.<\/p>\n

The international aspect of the conference was intended to encourage cross-cultural collaborations between Indian and international artists, promote cultural exchange, and highlight the global impact of Indian dance beyond India.<\/p>\n

A crucial part of the discussions also focused on formulating policies that support artists and the growth of Indian dance through governmental, institutional, and international frameworks. This includes funding, education, digital preservation, and sustainable development for the arts.<\/p>\n

The Voices<\/strong>: Was the festival able to achieve all the objectives it set out to achieve?<\/p>\n

Dr. Sandhya Purecha<\/strong>: The festival successfully created an immersive environment where artists could engage deeply with their craft from morning to evening, fostering a unique space dedicated entirely to the experience of art.<\/p>\n

Each panel discussion concluded with an open forum, allowing the audience to raise questions directly with the panellists and the SNA. This feature proved essential, as it encouraged a rich exchange of ideas, surfaced new perspectives, and provided actionable suggestions from a broader audience. We have taken these insights into account, and we are actively working to implement them.<\/p>\n

Several artists shared their concerns during the sessions, and wherever possible, the Akademi promptly addressed issues within its purview. In a landmark development, senior officials from the Ministry of Culture engaged directly with the artistic community, presenting their plans and gathering feedback to better understand the artists’ needs. This initiative was pivotal in building a collaborative relationship between the ministry and the artistic community, laying a foundation for a promising future in Indian dance.<\/p>\n

The festival’s outcomes have been significant, and we have compiled the recommendations to present to the government for further consideration.<\/p>\n

As chairperson of the SNA, I have always envisioned an inclusive platform that encourages open dialogue and collaboration. Seeing this vision take shape is a source of great pride for me and the team.<\/p>\n

The evening performances drew enthusiastic audiences who gathered to witness exceptional artistry featuring both renowned Indian dancers and international artists, thanks to the support of the ICCR. The diverse programming showcased the richness of Indian dance and demonstrated the global interest in this art form.<\/p>\n

The festival also provided a unique opportunity for participants to engage with veterans of Indian dance in an intimate setting. This allowed emerging artists and enthusiasts to ask questions, learn directly from seasoned practitioners, and absorb valuable insights from their vast experience.<\/p>\n

Overall, the festival has left us at the SNA feeling inspired and energized to continue supporting artists and advancing the cultural landscape in India.<\/p>\n

The Voices<\/strong>: The conference sessions discussed topics impacting the \u2018Creative Economy\u2019. What policy-related points were discussed?<\/p>\n

Dr. Sandhya Purecha<\/strong>: Broadly, we discussed policies regarding economic support and security for artists, building an arts infrastructure, recognition of artists through quota, pension and concessions where possible, intellectual property, arts education, and grant procedures to name a few. Discussions also centred around creating support for young artists.<\/p>\n

The Voices<\/strong>: What are your thoughts on the huge number of research and discussion papers presented at the conference?<\/p>\n

Dr. Sandhya Purecha<\/strong>: Firstly, I am hugely impressed by the sheer volume of papers we received from our call-out. I am delighted to see many individuals engaging thoughtfully and passionately with the arts. It highlights the event\u2019s strong and forward-thinking orientation. The inclusion of contemporary topics like AI and building the creative economy indicates that the festival was not just about celebrating traditional dance forms but also about exploring how modern technologies and economic strategies can shape the future of dance.<\/p>\n

Bharata said in his Natyashastra that there is nothing that dance does not include\u2014that very thought is pertinent even in contemporary times. Dance intersects with technology, economics, psychology, education, and more. The papers invited had interdisciplinary topics essential for creating a comprehensive understanding of dance in the 21st century.<\/p>\n

Including contemporary topics shows that the dance community is evolving and responsive to current global trends. Papers on these themes suggest that the festival was keen to foster discussions about how dance can adapt to changing societal and technological landscapes. It also reflects a forward-looking perspective, where traditional and indigenous dance forms are preserved and integrated with modern innovation.<\/p>\n

The Voices<\/strong>: What role do you envisage for artificial intelligence (AI), digital tools, and economic sustainability in promoting traditional Indian dance?<\/p>\n

Dr. Sandhya Purecha<\/strong>: Exploring AI in dance is a fascinating and timely topic. AI\u2019s potential in dance could range from choreographic tools to audience engagement. By leveraging AI, dancers and choreographers might find new creative tools to develop movement patterns, design interactive performances, or analyze audience reactions. AI could also be used for digital preservation, creating databases and documentation.<\/p>\n

While the world is becoming increasingly digital, many dancers in traditional forms may lack the technical skills or platforms to showcase their work globally. Additionally, the pandemic highlighted the need for virtual platforms for performance and learning, which some traditional artists struggled to adapt to. The solution is to offer training programs in digital tools, social media marketing, and content creation to help young dancers leverage modern technology and digital platforms.<\/p>\n

\"\"Shri.<\/span>\u00a0Jagdeep Dhankhar, Vice President of India, spoke about Dance and the art forms being the universal language of mankind. (Picture Sangeet Natak Akademi)<\/span><\/p>\n

\"\"
Dr. Sandhya Purecha, Chairperson and Shri. Raju Das, Secretary, Sangeet Natak Akademi, felicitate Smt. Hema Malini, Member of Parliament. (Picture Sangeet Natak Akademi)<\/figcaption><\/figure>\n

\"\"<\/p>\n

Artists are performing the popular Kashmiri folk dance form, which Rouf performed during spring. Picture Sangeet Natak Akademi)<\/p>\n

\"\"
Assamese women performing the Dahal Thungri dance form. Performed by members of the Bodo tribe, the dance form signifies themes of war and survival. (Picture Sangeet Natak Akademi)<\/figcaption><\/figure>\n
\"\"
The festival had 16 international countries participating. Seen here, US-based Archana Joglekar and her disciples presented several mesmerizing kathak performances. (Picture Dipta Joshi)<\/figcaption><\/figure>\n
\"\"
Dhol Cholom is the traditional dance of Manipur. (Picture Sangeet Natak Akademi)<\/figcaption><\/figure>\n
\"\"
A solo performance by Pt. Rajendra Gangani. (Picture Sangeet Natak Akademi)<\/figcaption><\/figure>\n
\"\"
The festival also held discussions and presentations to ensure the dance community evolves and remains responsive to current global trends. (Picture Sangeet Natak Akademi)<\/figcaption><\/figure>\n

Copyedited by: Aakriti Dubey<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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