By Roopa Modha
As printed in the November 2022 issue of “Indian Sounds and Steps” Magazine
As a dancer, one is always on a journey to become a complete dancer. To do so, we study texts such as Natya Shastra, which is the codified treatise on dance, theater, music, and the arts, and Abhinaya Darpana, but more so we turn to our Gurus to help us succeed in this goal. As such, in this modern era, increasingly students are going beyond the studio and turning to the internet to expand their dance repertoire, learn from various gurus, attempt multiple styles, and grow their potential in dance. However, the question must be asked – is a student hurting or helping himself/herself by learning multiple styles, and if one does want to learn multiple styles, what rules should govern the attempt? That is, what should a dancer do to ensure he/she is doing full justice to each style without compromising its core structures? In the modern world, has it become almost essential to expand one’s dance vocabulary through learning various styles? These are questions that will be addressed in this article.
1. New World, New Rule
A core tenant in the Abhinaya Darpana says,
Where the hand goes, the glance follows
Where the glance goes, the mind follows,
Where the mind goes, the mood follows,
Where the mood goes, there is the flavor.
However, to succeed as a dancer in the modern era, there is one more tenant that I believe should be added for a dancer to flourish fully:
Where the heart goes, dedication must follow.
With an inquisitive global audience and a sea of creative artists, it is easy for individuals to get exposed to more styles and dancers. Yet, if one falls in love with learning a particular style, the process to learn must not be undertaken in a superficial manner. Rather, the student must be aware that he/she will need to work hard and commit time to do full justice to that style. One can only learn multiple styles if there is complete dedication, focus, and commitment. These elements cannot be and should not be compromised if one chooses to learn beyond one style. It is fully possible to learn multiple styles, but it should be done in a manner that doesn’t sacrifice core and key elements of that style.
2. Basically, Basics Still Matter
The approach to successfully learning multiple dance styles needs to mirror the approach used when learning multiple languages. When learning multiple languages, individuals have to start at square one by focusing only on the rules of that language. That is, they begin by learning the basics of each language – one starts with the alphabet, then proceeds to create words and sentences in that language, is expected to understand the grammatical rules of that language (without incorporating the rules of another language), and continues to build on from there. When speaking or writing in that language, the individual is expected to only use the vocabulary of that language. Once these foundational elements are mastered, one will be fully capable to incorporate words from each language learned and weave elements of both into correct sentences. So, a fusion of styles cannot be done unless each is individually mastered.
A similar approach needs to be present in dance as well. The foundation and core of each style must be learned and focused on over a period of time. Without the requisite foundational understanding, it can hurt an individual as there will be no clarity in his/her movements and each style will become needlessly diluted. Even if a student later works on fusions, the initial foundation needs to be present and, without fail, must be built from the basic elements of each style to give the correct repository of knowledge to that student. For example, one cannot learn bharatanatyam and kuchipudi both, and then dance kuchipudi with the body positionings of bharatanatyam, and vice versa. These days, however, there are many individuals who are learning multiple styles, but are noticeably sacrificing key rules of each in their dancing. It must be stressed that simply putting on the traditional outfit of the particular style and dancing to audio in that style does not mean one is accurately depicting the style. It is important to showcase the actual structure and rules of that style in one’s movements and to capture the essence of each style. An audience should be able to tell which movements are from which style. Once a student understands what distinguishes each style, only then should the student move to performing pieces in each style or advance to working on fusions.
3. Learn without Compromise
Due to the internet and increased accessibility to dance gurus, we have reached a pivotal point where most students these days have explored and do learn multiple styles. Accessibility to various gurus has increased as the walls of institutions have come down into the virtual space. Most gurus have some online element incorporated in their daily teaching nowadays in the form of extended courses, certification programs, and smaller programs like workshops. So, it is possible to reach out to the best. To learn multiple styles and to capture each style correctly, there must be a balance in mindset between teacher and student. Gurus should be able to teach students without bias – e.g. one shouldn’t be stigmatized if training in multiple styles – and without preconceived notions – e.g. it is not true that only a native language speaker can do justice to a style. Meanwhile, a student must be willing to be free of ego and open to receive corrections from those who have studied each style in depth. A dancer learning multiple forms must be careful not to confuse elements of the styles and should not let each style or movement become a diluted form.
At present, there aren’t many gurus who have fully mastered multiple styles to perfection. For this reason, I would stress that for the current generation it may still be beneficial to train under a guru that has committed solely to that style as opposed to one versed in multiple styles. This will ensure the student absorbs the knowledge of that particular style correctly. Training under a guru who has focused only on one style will allow a dancer learning various styles to know what exact movements they are doing that are out of the styling rules of the particular dance form being learned. This way, the dancer will compartmentalize each style’s rules correctly as each style must still be danced in the actual manner in which it was historically created. However, with students exposing themselves to multiple styles in the current digital age, the next generation of learners may not need to train in individual styles by finding gurus who have mastered only one style. Yet, that statement will be true only if this generation of versatile dancers dedicate themselves to learning each style fully without compromise.
Personally, I am an English speaker (born and raised in the US) with Gujarati as our family language. My dance training has been in multiple styles, but I have worked very hard by pursuing advanced training in each individual style under gurus trained solely in that style to ensure that each style is being done with its core traits intact. I have been trained in bharatanatyam, kuchipudi, odissi, and as a child in ballet, tap, and jazz. I also have been trained in Bollywood dance and have taken workshops in mohiniyattam, kathak, folk (garba, bhangra, lavani), and karanas. I’ve been blessed that all my teachers have told me that I have never sacrificed any element of the style I am training in under them in place of other styles I have learned. This can only be achieved if one really stays dedicated to learning. So, work hard, learn well, and do not compromise the styling of each form you train in.
4. Versatility Reigns
When one views dance groups online, it is those that have infused elements of multiple styles that are drawing in the most hits. Even on reality shows, we see more and more international groups competing. The reason for greater relatability to such dancing is that global audiences are more exposed to dance forms from other countries and multiple styles due to easy access to content on the Internet. So, audiences are better versed in dance than they were in the pre-Internet era, and can relate more easily to diverse movements. It is key, therefore, to expand one’s vocabulary in dance to stay relevant and to be a versatile complete dancer.
Moreover, there are definitely benefits to one’s health by exploring multiple styles in dance, which suggests that versatility reigns. For example, it has been proven time and again that people who speak more than one language have drastically improved cognitive skills. Research has revealed such individuals to have improved memory, the ability to handle problem-solving better, greater critical-thinking skills, enhanced concentration, and beyond. Similarly, learning multiple styles can give a dancer greater strength and tonality, allow one to appreciate more languages, increase spatial awareness, make one more versatile in how the body can adapt and create movement, allow for more creative choreography, and make one’s dancing relatable to a wider audience. Even if a dancer chooses not to pursue the new style learned, it will still be an asset to have been exposed to other styles, but the learner must capture each style’s essence and core features. Each style of dance has specific elements, basic patterns, tempos, and rhythms that can help a dancer flourish and create more unique pieces. So, a student having learned multiple styles will have a larger vocabulary of movement to tap into to bring their visions to life and connect to diverse audiences, which is key in today’s modern era.
Conclusion
There is no need for a dancer to ever limit one’s learning in dance. Learning multiple dance styles can only help an individual in his/her creative journey! To truly become a global artist, one needs to understand the language of dance in all its forms. It is beneficial to learn multiple styles, but before a dancer can have freedom to fuse movements, training must be done in the manner described above – i.e. create the correct foundation before getting creative with movement. An expanded dance vocabulary can only help a dancer in the modern era to relate to an international audience. Learning multiple styles will open one’s mind to doors in dance that may otherwise have been locked. So, don’t be afraid to seek out new keys by exploring various styles to help unlock full dance potential!
