Poetry in Motion

Calling her a dancer would be undermining her perfor-mance. She's an enchantress. This review makes a true reflection of Indian Classical Dance and Chinese Opera because the two performances are never merely a dance or an act. They are an embodiment of tales and emotions interpreted through highly stylised movements, hand gestures, postures, facial and physical expressions and in the case of Chinese Opera, martial arts as well.

There are seven schools of Indian classical dance, namely Kuchipudi, Kathak, Manipuri, Kathakali, Odissi, Mohiniyattam and Bharatanatyam. Coming from different parts of India, they are individually distinct, identifiable through their make-up, costumes, movements and music.

The many facets in Indian Classical Dance make it such a meticulous form of art but it is also this same quality that makes it even more fulfilling to watch. In Indian Classical Dance, there is the pure dance and the expressive dance element. There are lots of ornate movements, intricate footwork and strikingly aesthetic poses in pure dance.

The sensuous Odissi for instance, is well-known for its Tribanga pose, which means three bends in the body, namely neck, waist and knee. These beautiful poses are even immortalised in sculptures found along the temple walls of Bhuvaneshwar, Puri and Konark of India.

Expressive dance takes the movements one step further, turning them into a body language laced with the dancer's interpretation of the accompanying lyrics and most importantly, the theme of the dance, known as 'Natya'. This element can differentiate an ordinary dancer from another who unites her body, mind, spirit and soul in luring the audience into her world of ineffable sensations. A dancer needs four years of full time training before she can put on a solid two-hour show.

Similar to Indian Classical Dance, Chinese Opera has many different types based on their province of origin and dialect, such as Beijing Opera, Kun Opera, Shaoxing Opera, Yu Opera and many more. However, just as Bharatanatyam and Odissi are the commonly performed Indian Classical Dances in Malaysia; Cantonese, Teo Chew and Hokkien Opera have become the representations of Chinese Opera in the local scene.

Chinese Opera has no less rules, codes and governing parameters. Cantonese Opera for instance, has 'Mo' and 'Mun' plays. 'Mo' means martial arts. Therefore, one can expect lots of intricately choreographed action scenes in 'Mo' plays, featuring a predominant cast of generals and warriors. 'Mun' on the other hand, means intellectual and cultured. This form of opera plays tend to be more dramatic with emphasis on softer movements, meaningful body gestures, richer facial expressions and tone of voice to communicate the underlying emotions.

Chinese Opera, which is usually performed on temple grounds and in housing areas, has a stage that is built like a house. It is lit with amber lighting and a change of the canvas backdrop gives you clues on the time and place of the scene. The performer has to be an all rounder. He sings, acts, performs martial art and acrobatics and does his own make-up. Chinese Opera make-up is a unique skill in its own. It is rather interesting to see a performer going through the detailed process of putting on his make-up and see him transform into a figure that seems to loom larger than life.

The striking resemblance between Indian Classical Dance and Chinese Opera would have to be their intricate make-up and costumes. Perhaps, what's most fascinating is that the liveliness of the performance (and also the performer) relies very heavily on the eyes. The make-up on the face pays a lot of attention to the eyes, making sure that they are made more bold and prominent.

Nevertheless, the ensemble of make-up and costume is beautiful and mesmerising, so much so it commands respect, attention and appreciation. The designs and the colours have specific meanings that help build roles and characters. Many people will automatically associate a heavily painted face of red and white with Chinese Opera. And not forgetting the dramatic eyes that seem to give out a piercing, authoritative gaze. This effect is actually achieved by drawing the eyes on a slightly upward angle. Then it is enhanced by pulling the skin on both sides of the forehead tightly upwards and securing it using cosmetic tape.

The Indian Classical Dance Kathakali shares a similar facial make-up idea. It takes hours and it usually transforms the dancer's face into a mask of varying bright, strong colours. The make-up designs differ again depending on whether the dancer portrays good or evil.

For most Indian Classical Dances, the ladies' eyes are drawn to assimilate a peacock's. As such, they look more feminine, delicate and inevitably flirtatious, especially when the focus of the dance shifts to the expression on the face.

Costume for Chinese Opera is dependant on the type of play -- either 'Mo' or 'Mun'. The costumes vary depending on the character's social standing. The richer or the higher one's ranking, the more embroidery one has on his costumes and the bigger and more extensive the headgear is.

In 'Mo' plays, the costumes are bulkier, heavier and come accessorised with weapons to illustrate the atmosphere of war. The headgears have many pom poms, rhinestones and some even include the trademark long pheasant feathers. Water sleeves, or the long soft material sewn to the sleeves, is used extensively in 'Mun' plays to reflect the elegance and tenderness of the well-educated and cultured personality of the characters.

Likewise in Indian Classical Dance, the nature of the dance influences the costumes. Kathak, a dance known for its pirouettes, uses flair skirts. A Kathak dancer can make up to 36 rounds in one go. And when she does that, the skirt lifts to a beautiful effect. Besides the skirt, the dancer also wears as many as 200 bells on one ankle.

Kathakali has bulky and voluminous costumes to complement their heavy mask-like make-up. Manipuri, which has a slight influence from China, wears a veil on the head and a short flair skirt on top of a long can-can skirt. The graceful Mohiniyattam wears an off-white and gold costume that exuberates a sense of simple elegance and sophistication. And the feminine Kuchipudi dancers wear elaborate headgears and plaits.

In Chinese Opera, the play leans heavily on the singing because it provides the central narration for the play. Therefore the essence of the play is lost when one doesn't understand the dialect. For Chinese Opera, the singers are the performers themselves. Indian Classical Dance however features a separate vocalist.

While both performances have live music using traditional musical instruments, a few western musical instruments have sneaked its way into the whole orchestra. Violin and saxophone can be spotted in Chinese Opera along side the Er Hu (a vertical Chinese violin) and Pi Pa (a guitar-like musical instrument), just as violin is used to accompany the Tambura and Veena in Indian Classical Dance.

As a whole, both performances are highly symbolic. In Chinese Opera, a performer moving around with two big flags on his sides means he's on a chariot. Or if a warrior is going into war riding a horse, he will wave a cane with strips of cloth, which portrays the horse's mane. Similarly for Indian Classical Dance, a slight movement of the hands, eyes and body will communicate to you whether the character is sleeping, painting or waiting impatiently for her lover.

Actually, while cherished for their entertaining qualities, these two cultural performances serve a propaganda of their own -- either to communicate a virtuous message or to pass on an age-old story to the new generation. Chinese Opera tells stories of ancient wisdom and values, legends and folklore. Indian Classical Dance, which originates from the temples, sings praises to the deities and at the same time glorifies their lives. These voices manifest itself in dance and music that transcends age, class and social ranking. It is through such entertaining, enlightening and undeniably beautiful ways that these cultures preserve their voices and have them heard.

Watching Indian Classical Dance and Chinese Opera is a lyrical experience. It requires you to immerse yourself in the language that the dancers and performers weave on stage. To fully enjoy and understand the sentiments behind them, you have to pay close attention to the details of make-up, costumes, physical and emotional expression.