Metro Plus Chennai Hyderabad
 
SHASHANK AND
PRIYADARSINI ON TRADITION, TRAVEL AND TECHNOLOGY
`You can't strike that
perfect balance'
| It's thrilling to convey emotions, especially through your
eyes — Priyadarsini |
If his diamond kadkans (ear drops) remind you of
vintage musicians, her mukkuti's (nose stud) quaint charm makes you
wish you had inherited one from your grandmother. It's not just
about the ethnicity of their appearance or the art they have
passionately made their profession. When it comes to creative
exposition, the boyish-looking (he is 20 something) front-ranking
flautist Shashank is adventurous and likes to be ahead of his time.
While Bharatanatyam danseuse Priyadarsini Govind, who always puts
her best face forward, (her abhinaya is a collage of emotions) is
restrained and in-tune-with-time type. He gives music lessons on the
phone to his overseas students and she recently brought out an audio
CD-cum-DVD of varnams. A globe trotting Carnatic musician, Shashank
lives for the most part of the year in Europe and America (he's even
got an accent). Priyadarsini is preparing for her forthcoming U.S.
tour. So three Ts (tradition, travel and technology) dominate the
Take Two at GRT Grand. Chitra Swaminathan
listens in.
Shashank: I was just a toddler when my
flautist-father (then a professor of biochemistry in
Bangalore) discovered my musical ability and made a conscious
effort to expose me to classical tunes. I grew up watching him play
the flute. I started training when I was six years old, initially in
Carnatic vocal from Palghat K. V. Narayanaswamy. My debut
kutcheri was at the age of 11. The most exciting and
unnerving moment was when I performed at the Music Academy Sadas
(1991) in front of 500 senior musicians.
Priyadarsini: For me too, dance was part of
growing up. We are fortunate to have been groomed by our families in
the classical arts and time-tested values.
Shashank: It's a scary situation though. You
might or might not make it as an artiste despite years of training.
At least these days you have the option of taking up teaching.
Priyadarsini: In that respect the family's
decision to put you through a sound training matters a lot. You need
a strong support system at home to keep your spirits high during
those days of rigorous training. You are fortunate that your father
gave up his job and focussed all his attention on shaping your
career.
Shashank: My school too extended a lot of
support. I would skip school many days and still would be welcome
when I entered. No picnics or movies for me. It was only music and
more music.
Priyadarsini: Is it only music even now?
(smiles)
Art-talk at home
Shashank: I think it's become more
channelled after Shirisha's coming into my life (he got married
to Shirisha, a Bharatanatyam dancer from Bangalore, last month).
I was keen on marrying an artiste. For even if she does not make a
career of her art, her grounding in it could help build a harmonious
relationship. So it would be art-talk all the time at home.
(Laughs aloud)
Priyadarsini: Don't you think it is
essential for artistes to go out, meet people and observe life? You
never know where your inspiration and ideas come from.
Shashank: May be it could help dancers
choreograph something new. But how does it matter to musicians, who
are supposed to restrict themselves to traditional compositions? The
flute is perceived as a difficult instrument because it cannot be
tuned and coordinating breath with fingering is not easy. I
improvise a lot on stage like most instrumentalists do. You know,
Western composers think in terms of stories like dancers do. There
is always a logical expansion or progression in their work. I have
seen you perform many times, your flexibility amazes me. (her
slim frame belies the fact that she is the mother of two
teenagers) You also seem to revel in the abhinaya aspect
of dance.
Priyadarsini: Even now I go to Kalanidhi
mami (abhinaya exponent) to learn the finer aspects of
abhinaya. It's thrilling to convey a range of emotions,
especially through your eyes. Abhinaya is the only aspect
that lends itself to improvisation on stage. Rest of it is
rehearsed.
Shashank: I have always enjoyed watching
dance performances. (Now you have no other go, she laughs)
But wonder what happens when the musician or the nattuvangam artiste
misses a sequence?
Priyadarsini: Simple, make some instant
adjustments. Dancers constantly strive for that perfect
understanding with members of the orchestra. So much of our time is
spent on rehearsals to blend laya, tala, nritta and
abhinaya. So much so, it's difficult to distinguish one from
the other. With technology, training has become less arduous these
days. The varnam DVD-CD that I have brought out serves as a ready
reckoner for students and teachers. It has 250 varnams, which
include old and modern compositions. Some of them have been
practically demonstrated along with the translation of the text.
Lessons on phone
Shashank: I too keep in constant touch with my
students by playing through the speaker phone. Though it is not the
ideal method, at least they don't miss out on lessons. Time should
never be a constraint while learning an art. I remember KVN teaching
me a Bhairavi varnam for six months. In fact, in four years I learnt
only nine compositions from him. Travelling around the world has
broadened my vision. It has given me valuable insights into various
art forms. What's more, it has changed my lifestyle. I hate untidy
homes, and throw a fit if things are not organised and aesthetically
arranged. (Shirisha had better watch out, smiles
Priyadarsini)
Priyadarsini: Much has been said about how
challenging it is for a woman to play multiple roles. But I think
you can never strike that perfect balance if you are an artiste.
Invariably, your first priority will be your art. Sometimes, I feel
guilty that I did not guide my 16-year-old daughter to pursue dance
seriously. She gave it up halfway through.
Shashank: After such an artistically
stimulating exchange, I think both of us should work together some
day. There is so much to explore. I don't mind calling myself a
non-traditionalist. Art never grows if we stick to a set pattern.
There is nothing wrong in tagging on something of our own to what
already exists. In fact, I am working towards realising my dream of
playing Mozart and Beethoven on my bamboo flute.
Priyadarsini: That is truly music to my
ears!
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