About fifty young dancers in colourful practice saris assemble at Iyengar Centre for Performing Arts Studio, Malleswaram to learn an Annamacharya composition choreographed by the acclaimed Bharatanatyam artiste, Rama Vaidyanathan. She was in Bengaluru for a performance with her daughter, Dakshina Vaidyanathan, at the recent Nitya Nritya Festival, organised by Nupura.
In the Telugu composition, Palumaru Benagaka..., Alamelu Manga’s sakhi tries to convince her not to snub the advances of lord Venkateshwara but instead to succumb to his love. The choreography is intricate as it involves frequent change of roles from the sakhi to Alamelu Manga and vice versa. The dancers at the workshop are, however, meticulous to note down each dialogue, follow every hasta and details of Rama’s facial expression.
Karnataka : Bengaluru : Bharatnatyam artist, Rama Vaidyanathan conducting workshop at Iyengar centre for Fine Arts (pic to go with The Hindu Metro Plus, Manasa's copy) on 24 September 2019. Photo : V Sreenivasa Murthy
Rama talks to The Hindu on a range of things -- from her choreography to the state of Bharatanatyam in Delhi. Excepts from the interview:
Your choreography of Palumaru Benagaka looks modern in its sensibility.
Yes, we have to make it relevant to today’s audience without messing with the tradition. When the audience are unable to relate to it, what is the point of presenting it in an age-old way? The sooner we realise it, the better it is for the form.
The piece is receiving huge response, perhaps, for this reason.
There are so many dance workshops these days. How do you make sure of quality?
A workshop is a window into how a dancer thinks or works. While it’s true that many get fresh ideas and frameworks to develop them during workshops, it is equally possible that some wouldn’t be able to keep up the pace. That doesn’t mean gurus should hesitate to conduct workshops. If senior gurus feel so, then even the talented ones would be deprived of so much that can only be imbibed through interacting in-person.
All of us have to be given a chance to explore different possibilities and approaches. It’s like churning the ocean. Time alone decides what’s great and what’s not.
You stand in between two generations of dancers in your family. What excites you to perform with your daughter?
Through the eyes of my daughter I get access to thought processes of the younger generation. I think youngsters have brilliant ideas. It is because of them that we are witnessing new approaches in classical dance and that’s how any art form evolves. Therefore, it will not be right to say ‘young dancers lack commitment’ (as some gurus feel). For me, dedication can’t be generalised based on generation.
How does a dancer think beyond the classroom?
For a dancer to take her lessons beyond the classroom and to make it experiential, she has to dissolve herself in it completely. Immersing oneself in the art form is to to become one with the art -- just like a drop of water losing its identity when it joins the sea.
CHENNAI, TAMIL NADU, 07/01/2016: FOR FRIDAY PAGE: Rama Vaidyanathan performing a bharatanatyam dance at Music Academy in Chennai. Photo: M. Vedhan.
But for this transition, it requires right attitude.
You’ve been in Delhi for a long time now. What has made Bharatanatyam thrive there?
Although it is not as vibrant as it is in Chennai or Bengaluru, Bharatanatyam has always had discerning audience in Delhi. It is because of renowned teachers and dedicated students.
Many young dancers have alternative careers today.
Very few dancers have the luxury of taking up dance full time. Practising dance not just requires immense support system, but also strong financial backing. Moreover, it takes about 20 years to reap fruits of one’s efforts in this field. So one cannot help but be practical.
As long as they’ve found a way to continue their engagement with dance, all’s well.
They must give it a shot, however late it is.
