The experimentation has been subtle. From the classical dance forms, there has been an imperceptible shift towards something more free-spirited, bold and equally articulate. Contemporary dance has now found a niche among the culturally approved, classical dance forms in the country. During the Margazhi season, the audience veers towards indigenous art forms; but contemporary dance has its bevy of supporters.
"One can't, after all repress freedom of expression," says contemporary danseuse Anita Ratnam. Classical dance forms predominate because they come from a long history, she points out, "but contemporary dance is very new, an urban phenomenon that can surprise and provoke.
Contemporary dance is individualistic, a form of self-expression that comes from freedom. Classical
dance enjoys the support of the sabhas and the government. But the contemporary form has only been supported by foreign entities that invest in the art. That is a statement on how we are not willing to look at any other kind of expression through dance," she says, calling a spade a spade.
Classical and other popular art forms may be easier to showcase because they are widely known, but cultural organisations have been keen to promote the unusual and the experimental. "We, at British Council, wanted to encourage cross-cultural collaboration in the contemporary realm," says Neha Jaiswar, arts manager, gratified by the standing ovation that "the Akram Khan show got from so many people who had come out on a stormy night to watch the performance. Since the city has been exposed so much to the traditional forms, when there is a new work in the offing, the audiences have the sensibility to appreciate and enjoy it," she says.
Appreciation has not come overnight, of course. Kunwar Amarjeet Singh, a contemporary dancer and participant in popular reality show, Dance India Dance (DID), remembers how when he started out in dance, "There was no respect for anything but classical forms. Most people thought that other forms were just a waste of time. But now, contemporary dance has gained a different status because of the international standard attached to it," says the dancer who also appears in Channel V's D3—Dil, Dosti, Dance.
Contemporary dance in India now holds a lot of promise, according to Kunwar's co-star and winner of DID, Shakti Mohan. A trained Bharatanatyam dancer, Shakti moved to Mumbai and was captivated by the contemporary style of dance. "Thanks to the reality shows, it has reached every household in India," she says. "What is unique about India is that we have the ability to create and fuse our classical dance forms with contemporary interpretation. That sets us apart internationally," says Shakti, who was also a part of BBC's Collaboration Culture project, a four-minute live dance performance to music written by renowned Arab-American composer, Mohammed Fairouz. This performance has garnered this danseuse many accolades from across the globe.
"Closer home, there is a lot of experimentation happening within the classical dance field. Adds Anita Ratnam, "The experimentation is unconscious but it is there. Even if the sabhas don't want to openly acknowledge it, they do allow it."
Workshops too have helped encourage artistic interaction, according to Neha. "Workshops facilitate cross-cultural interaction. It is a two-way process. A true sense of collaboration takes place."
Sandip Soparrkar, dancer:
There has been a change in the general perception as people realise that contemporary dance has a lot to do with expression rather than just flexibility. You can convey various emotions through the art form. I think TV shows and choreographers have done much to promote the form. Now, it has become universal and definitely more accepted. Children come up to me and tell me that they want to learn contemporary dance and take it up in the future. This is good because otherwise, we were so Bollywood driven that if you don't shake your behind, you're not dancing.
