Pune University’s Lalit Kala Kendra made a commendable effort to bring
together various voices in the dance field on the occasion of a two day
(Aug 27/28) seminar on Micro & Macro in Dance Writing. With senior
Bharatanatyam talent like Sucheta Chapekar’s guidance, Associate
Professor Parimal Phadke undertook a meaningful seminar. Gurus, critics,
editors and publishers, teachers, dancers and media honchos shared
their thoughts. As one who has traversed all three roles in last thirty
years (as critic of India's largest circulated English daily the Times
of India and later, columnist India Today) and then editing Rasamanjari
for 5 years and editing-publishing attendance, the dance
annual for 15 years, my views come from practical experience. It may
help budding dancers and journalists/critics, who wish to write on dance
with integrity and meaning.
Dancers first, since without them critics and dance editors and
publishers wouldn’t exist! In all humility, writers of all shades, ought
to accept this basic premise. Dancers learn an art form for many years,
then strive harder to reach where they wish to be, professionally. But
just because one learns dance it does not mean one becomes a dancer. Or a
professional. It takes a minimum of 20 years of consistent work/output
to become a known dancer of repute. Dance is a serious calling, beyond
being a profession or vocation. It needs stamina, will power and total
surrender, and above all, a real guru. There is a big difference between
a guru and a teacher, but more on that in my next
column.
Read the article in the site
Parimal Phadke, Ashish Khokar, Sucheta Chapekar
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Read the article in the site
So true. Every genuine artist feels this within. Dance is not just learned; it is lived through years of dedication, discipline, and surrender.
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Ashish Mohan Khokar’s writing is a masterclass in fearless, unfiltered journalism, holding up a mirror to the dance ecosystem with a searing honesty that is both refreshing and rare. It's a pen that strips away the polite facades of the art world to expose the raw mechanics of influence, driving home the point that true critics are not mere observers, but custodians of destiny who "sit on many committees of patronage" where their opinions "decide fate and career of artists." Drawing from your vast experience across print and publishing, you accord an astute reality check on the media landscape, sharply distinguishing between the institutional responsibility of an editor running a credible portal and the transitory, self-glorifying nature of casual blogs and social media feeds. By boldly declaring that "class cannot be bought and culture is not a byproduct of commerce," one sees a stirring defense of intellectual independence, reminding us that meaningful critique requires a deep, uncompromising surrender to the art form itself rather than the transient allure of social media fame... Yes truly 'A 'critic ' then becomes a link between the seen and the reported, savoured and shared'
ReplyDeleteBy Kalashri Lata Surendra
One should always encourage others, regardless of their profession(not only dancers, every artist or professional). Healthy criticism should always be welcomed, as it helps us grow and improve. However, Sir, you have rightly pointed out the difference between constructive criticism and criticism that is immoral and unethical.
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