Author: Louba Schild
Publication: Organiser
Date: August 4, 2002
Vijnana Kala Vedi, the cultural
centre, created in 1977 by Smt Louba Schild, a French artist living in
Kerala since 1968 has been introducing Indian arts to foreigners. The different
art forms such as Kathakali, Mohiniattom, Bharatanatyam, Mudras, Classical
music, Percussion instruments, Kalaripayattu, Wood carving, Mural painting.
Rangoli, Ayurveda, Hatha Yoga, etc can be explored at this centre. Situated
on the banks of river Pampa in Aranmula, declared as a heritage village
of India by Indian National Trust of Art and Culture (INTACH), the centre
welcomes any serious student of Indian arts without any distinction of
sex, country and profession. Aranmula is world famous for its mirrors,
"Aranmula Kannadi", unique for its alloy and its ancient method of manufacturing
and polishing techniques. The five-century-old Parthasarathi temple adds
to the beauty of the place.
Excerpts from an exclusive interview,
of Smt Louba Schild with Pradeep Krishnan:
Q. What prompted you to come to
India and study its Arts and Culture?
A. I came to India to meet my spiritual
Guru. After I got answers to all my questions and entered a real spiritual
life, I 'tasted' the fruits around: the arts and customs and life of the
people of Kerala. They all seemed to be based or to point to the highest
principles found in the spiritual teachings of the great sages of India.
So I did not come to learn the arts first, but they captivated me, as they,
seem to blend so extraordinarily with the spiritual background.
Q. What is unique about 'Kathakali'?
How is it different from other theatre art forms of India?
A. Kathakali has the 'theatrical
aspect more developed. It seems to require a deep commitment from parts
of both the actor and the spectator to reach a level where the mind dissolves
and great happiness is experienced. In any art form it is possible, but
Kathakali is blessed with many elements which contribute to bring about
such an experience: The music, the ragas, the percussion, the costumes
and the mythology with its intricate and deep meaning, just like all the
instruments to create a symphony.
Q. To learn Kathakali one needs
patience and perseverance. Do you think-the fast and easy going modern
youth would accept Kathakali? How far is it popular even in Kerala?
A. The new generation is not so
much attracted to it. Perhaps a new theatre is yet to come. The problems
of this time are different. But it takes 'genius' to come up with the art
of the time.
Q. It is often commented that the
presentation of plays in the urban cities and the suburbs has degraded
its serenity. Traditionally, these arts thrived at the temples. How do
you view this?
A. I think that it is high time
to stop those loudspeakers, whether they are in cities, suburbs or villages.
They spoil the culture, the car drums and bore those who are not interested.
Why can the musicians learn to sing without, but at least, if, as the High
Court recently ordered, there could only be some sound boxes inside the
premises. Of course, even without any electronics the Chenda is very loud.
The art of the "trance" is no more in fashion, and the ears change slowly
their ranges of acceptance of sounds. Perhaps, for foreigners, it might
be unbearable.
Q. In every Indian art there is
a body-mind-soul link. To practise these arts, the life style has to be
different. Can the Westerners easily adopt this?
A. Oh yes! Those who are ready
for it are eager to do it. But sometimes the Indians do not show the example
and the foreigners are confused about which is the correct standard: Traditional
way of life with a sound moral background? Or neo-classical style where
the outer form, the customs are sometimes a little carelessly transformed?
Or a complete change in the way to consider arts and life, being modem
and free creators?
Q. How far Indian art forms are
popular in Western societies? Can the Western audience be able to appreciate
its value fully?
A. It must have been a small part
of the art lovers who could appreciate Indian arts, the large public being
so manipulated by fashion, etc. But those who appreciated did it fully:
They preferred when the performance of Kathakali was scheduled for the
whole night. Many young artists became attracted, fascinated by it and
decided to come to Kerala to study Kathakali or Bharatanatyam in Chennai.
Q. Life in India is unique rich
and varied culture and traditions- do you think it is degrading?
A. Yes, it seems. Not because the
customs or traditions are forgotten. But because people do not care for
them any more. People often find fault with some organisation: The Government,
the Dewasom Board, the municipality, etc. What about the people themselves?
Where is their faith, their enthusiasm, their love for others and their
country? Man has a tendency to always accuse somebody else. The Western
culture is polluting. Why did they (the people), allow it? I do think that
Indian people must look inside and refresh the aim of their life!
Q. Everybody is now appreciating
Indian Culture, Arts, Crafts, way of life, etc. But is it not such way
a glorious culture the product of a society, which allowed such diversity
to flourish?
A. It is not because India allowed
the diversity that she is great, but because she kept the unity behind,
in spite of the diversity.
Q. Even in art forms there is now
a tendency to imitate the West. Are we not loosing our best by aping the
West?
A. Aping is indeed not good. But
the greatness of India is precisely, to be able to absorb, transform or
co-habitate with other religions, races, etc without loosing her identity
because she has been (must continue to) keeping her spiritual background
beyond changes, beyond time and space: The changeless truth.
