Warning, this column is lighthearted rant about something that grates on serious concertgoers. After the bouquet was presented to a classical dancer at a prominent Delhi theatre recently, the Compere (Announcer) finished the programme, literally and figuratively, with a cheerful, “Please enjoy the rest of the evening”. Her words instantly transported the audience to a nightclub scenario where, having seen a floor show, we are reminded that the glasses should clink as the night continued brightly and perhaps hazily.
I have no clear idea of the forms and protocols for introducing concerts in other cities, but a growing number of performances in Delhi are undercut by well meaning comperes who unwittingly demean the presentations. After introducing an artist before their first entrance, “Put your hands together for ” is such a crude alternative to simply saying, with the right inflection, “And now ”
Variations like, “Let’s give a big hand to ” is hardly an improvement on “Give it up for ” Basically, the informality is out of place for classical or contemporary dance or music concert forms. Even more fundamental, the compere’s role should not be coaxing and cajoling the audience into showing their appreciation. If they introduce the artist(s) and what is being presented clearly, it is then up to the audience to show its pleasure ranging from polite applause to a standing ovation. I cringe for the unfortunate artist when the compere makes it clear that they don’t expect even weak polite clapping without their cheerleader-like prodding.
I must admit I’m not a great fan of these methods at wedding and commercial entertainments, but I acknowledge that there the compere (master of ceremonies) is expected to serve as an opening act, warm up the audience, and keep them interested in what is on the stage when there are so many friends and food to distract them.
Generally in other countries, the printed programme is sufficient to introduce the performance and performers. Even in theatres where the program has to be purchased, there is no spoken introduction before or during the performance. Common practice in India is to verbally introduce everything related to the program, from lengthy bios through program descriptions to credits to sponsors, irrespective of the fact that every word is printed and distributed. Perhaps if announcers focused more on this responsibility rather than directly the audience how to respond, the impact would be better.
There is almost no excuse for the mispronunciation of names of poets, ragas, philosophical terms, etc used in the introductions. This is given in advance to the comperes to go over. It is a clear discourtesy when the announcer clearly does not care enough to find out how to pronounce words that the audience knows or wants to know. They are, in essence, making a statement that they do not respect the terminology required to introduce the performance. Even if it is tricky, they could simply write it out in Devanagri. The one hopefully understandable excuse for mispronunciation would be an announcer with an accent from another language who is simply unable to say certain sounds, like me with my American accent! Fortunately my dance is without accent and I apologize for those who have to be indulgent and not laugh at my spoken mistakes.
It would also be helpful if the closing were as thoughtfully scripted as the welcome. It usually is, but when it is not the shambles of chief guests, artists, accompanists, who is and who isn’t give a microphone to speak and how to end the evening makes for quite a slapstick comedy.
Choice of announcing on or off stage should rest with the comfort level of the announcer in managing the introductions. If it means podiums or microphones coming on and off stage awkwardly, then off stage is wiser.
We have some wonderful performance anchors in Delhi who obviously make none of the errors I am ranting on about, thank goodness! Sadhana Srivastava is certainly one of best today, but there are others. Freshers should follow their example to enhance the aesthetics of the entire presentation.
A last thought for anyone connected to lighting a ceremonial lamp, please do remember to put a bit of camphor on each wick for a quick and auspicious event inauguration!
Sharon Lowen is a respected exponent of Odissi, Manipuri and Mayurbhanj and Seraikella Chau, whose four-decade career in India was preceded by 17 years of modern dance and ballet in the US and an MA in dance from the University of Michigan. She can be contacted at sharonlowen.workshop @gmail.com
