Packaging The Paunch Kanyas

A big coffee table book on dance by Lustre Press comes from two of Delhi8217;s sacred cows: Leela Venkataraman, the dance critic of The Hindu8217;s Delhi edition since 15 years, and Avinash Pasricha, who has specialised in dance photography since 1960.

Venkataraman8217;s text is at its best on early dance history, particularly Bharata Natyam and Odissi, but does not really take us into the dynamics of the book8217;s title, 8220;Tradition in transition8221;. In pleasing everybody, she has not a word of honest reproach for the fat indisciplined bags who think because Balasaraswathi got away with it, they can, too. Whereas they and their twinkle-toed, PR-crazy successors have made us heartily loathe the dance we once loved 8212; except the true few.

Oddly, the book misses out Aditi Mangaldas in Kathak, and Sujata Mahapatra and Bijoyini in Odissi 8212; our great brown hopes. Nor is the radiant Vyjayanthimala counted, though her films did much to endear dance to a dazzled populace. Legendary Kathakali performer-guru Pattikamtodi Ravunni Menon8217;s name appears as 8220;Ramunni8221;, German and Polish names go haywire 8212; surely not the author8217;s fault.

The true horror of this expensive book is in its photography and design: both shriek of an insensitive eye. Reluctantly, one thinks of dance photographs by the late Cecil Beaton or Denis de Marney from the 8217;50s and 8217;60s. They were strangers to our shores, but responded to the poetry of movement. They made magic with mid shots, played with light, conveyed drama, romance, a sense of before-and-after. Hence those exquisite images of Ram Gopal and other early luminaries, both posed and in performance.

Pasricha8217;s camera goes far too close and robs the frail human body of its mystique. Things that should remain unseen by the viewer are blown up to grotesque, tragic enormity: peeling pancake, cracked heels, chipped nail polish, leathery fingers, pimples, untidy hair, caterpillar eyebrows, crumpled costumes, loose threads. Pasricha8217;s one parlour trick, the multiple exposure, is repeated ad nauseam. His lighting is harsh, he usually fails to connect with the 8220;juice8221; of a movement or clicks messy transitions between poses.

Our dancers have only themselves to blame for not demanding better documentation of their lifetime8217;s effort. Where Pasricha does catch some grace Manipuri drum dances, the unintelligent design, as throughout, spoils it with double spreads distorted by the binding. The design constantly indulges in meaningless pastiches of cutouts or enlarges the already garish pictures beyond endurance. A visually revolting book in every way, a rare chance squandered.