Malavika Sarukkai is as magnificent a conversationalist as she is a dancer. She is as graceful, eloquent and creative with words as she is on a stage. Over a sprawling career of 50 years, Sarukkai’s work withstood the test of time, making her one of the most creative people in the field of Bharatanatyam. In 2016, she started Kalavaahini Trust, in an effort to ‘give back’ what dance has given her. It has now been over a year and Sarukkai seems to be accomplishing things, one vision at a time. “One of our aspects has been to create a platform for young dancers who are promising, committed and are serious about their work. There are ones who have taken it up full time and I don’t think we are differentiating that group of people from the ones who have not. How do we validate their choice of taking up dance seriously? There is so much of everybody saying, “I also dance” and very few who actually do. We are trying to look out for dancers who show some intelligence, who are working on their technique, who are not just trying to be imitative or a clone of someone else, and who are engaging with their creative processes. The larger question is ‘how do we make a dancer an artiste?’” says Sarukakai.
But, Sarukkai asserts that this does not mean an invasion of any kind or telling them what to do. The guidelines, however, have been to work with the classical, be inventive with it, and to produce something of quality. “We are living in times of excessive consumption. Perhaps with Kalavaahini, we can provide a sanctuary, if at all that is possible. Every generation has their problems, I had mine, where I had to live frugally and make specific choices. It is very difficult to make profit as a young dancer. The musicians must be paid, the organisers won’t price the tickets high because then there won’t be any audience, so, at times, the dancers end up with nothing - often in the minus, spending money on every performance. Not everybody is born with a silver spoon. It is so humiliating to be bounced around by everybody, because nobody believes that you should make money at the end of it. It is a very depressing scenario,” adds Sarukkai.
Sarukkai also understands that mediocrity and nepotism has taken over the classical world as well. “It is a lopsided thing. Nobody is discriminating the good, and the mediocre dancers. There is nothing that separates them. One who is exceptional is presented next to one who is terrible, perhaps because he/she has contacts or already established parents in the industry. I have even heard people complain that they should get an award because they have taught dance for 30 years. But have you contributed? It is so much about this entitlement to things,” says she.
Dancers Shijith Nambiar and Parvathy Menon
The consumerism that Sarukkai has referred to has long been plaguing the artiste in a dancer. She claims that dancers are often driven by a need to make themselves famous and dance itself has ended up being more performative than artistic. The lack of conversations amongst dancers is also something that has made them isolated. Through Kalavaahini, Sarukaai also hopes to hold informal talk sessions between dancers where they can discuss choreographies and get responses. “We don’t have enough conversations in dance. Everyone is sitting isolated. We should be able to talk in an environment of trust, without judgements, work with flexible minds, ask questions. After a point we won’t even know what is artistic if we continue to focus on performativity. It is like conscience. If the dancer forgets, the audience will forget it too,” says Sarukkai.
Kalavaahini Trust in association with India International Centre will present performances by three accomplished as well as upcoming dancers in Delhi this month. Why Delhi? Sarukkai says, “We need to introduce cities to dancers and vice versa.”
The artistes
Shijith Nambiar and Parvathy Menon need no introduction. Trained at Kalakshetra, the duo was awarded the Bismillah Khan Yuva Puraskar in the year 2015. As a dancing duo, they have often been compared to the phenomenal Dhananjayans (VP Dhananyajan and Shanta Dhananjayan). Says Parvathy, “It has become difficult to dance alone now, once you have danced for so long as a couple.” The different depictions in the sancharis often come effortlessly to the two. “We will be presenting some of our favourite choreographies that we have developed over the years,” says Shijith. For their performance in Delhi, Shijith and Parvathy plan to start with an Alarippu in a combination of mishram and sankeernam, followed by a composition of Maharaja Jayachamarajendra Wodeyar, in ragam Gambheeranattai. They will later perform a varnam – Vanajaksha – in Behag, composed by Vidwan TR Subramaniam, followed by a Kriti in ragam Varali, composed by Sri Papanasam Shivan and end with a Tillana in ragam Senjurutty, composed by Vidwan Veena Seshanna.
Christopher Gurusamy is Australia-born Kalakshetra graduate. He began dancing as a little boy and his aunt was his first guru. Gurusamy has been noted for his impeccable footwork and the typical Kalakshetra techniques he brings to the stage. His on-stage presence is said to be charming with clear lines subtle mukhabinaya. He grew up learning ballet, jazz, tap dancing and Bharatanatyam.
Gurursamy will begin his margam with a Kalakshetra choreography of the famous Nattanam Adinar in Vasantha, composed by Gopalakrishna Bharathi. Further, he will present the remarkarable varnam, Sumasayaka, in ragam Karnataka Kapi, a composition of Swathi Thirunal and choreographed by Rakesh KP. He will end with Adahodalay Devarnama in Ragamalika, composed by Purandaradasa, choreographed by the queen of abhinaya – Bragha Bessel.
(‘Anubhuti – an experience’ will be presented at India International Centre on 23rd February at 6 p.m.)
