In an increasingly intolerant world, inter-disciplinarity might be the only thing that saves us. Our constant fight for freedom of expression sets us apart as individuals. It not only marks our identity but also designates a spot in a chaotic society. A conscious decision to converge two disciplines may not only bring new meaning to the one pursuing it but also to the disciplines. While starting off with two dance forms, Kalpana Raghuraman did not have a clear vision of what her pursuit was to bring her, but as her journey progressed, the dancer-choreographer and anthropologist has not only carved out a niche for herself, but also is the first one to do it her way. This week, Kalpana brings to Delhi one of her unique productions, “Simeon”, an Indian contemporary dance performance by an Indo-European dance ensemble. Kalpana’s style is known for intricate juxtapositions of Bharatanatyam with the Western contemporary dance.
Born and brought up in the Netherlands, Kalpana was trained in Bharatanatyam initially by her mother, Sharada Raghuraman from a very young age, before she went on to train in contemporary dance in Paris. “We used to visit India in the summers. I would watch Amma as a young girl, and later joined her classes. I came to India to do research in anthropology about dance. We don’t have a lot of Carnatic musicians in Holland, so I began to organise my own tours, and, therefore, increase the quality of dance too, in Holland. It was not easy to pursue Indian dance there as a profession,” says Kalpana.
“I am also a very socially engaged person, and I think about the things we deal with on a daily basis. The classical dance forms of India are very rich, but they do not necessarily let me speak or express in the way I would like to. So, I started to read about how classical forms can be used outside of its structure and grammar. I am not saying that the classical dance is lacking in any way. What I do is more of an addition to it, that it can be done in so many different ways. I do not see it as a replacement or a lack. For me, the contemporary way of creating is extremely exciting because it is not narrated, or linear. It allows for the creators to share their vision in their own individual way, to reflect as well as be inspired. I researched on how we can use the grammar of Indian classical dance differently, and combine it with contemporary Western dance. I was the only one in the Netherlands doing that, so there was no reference for me,” she adds.
Kalpana’s dance company Kalpanarts is the first contemporary Indian dance company that is being funded and supported by the Dutch government. Through the years, she has had a variety of reception for her work, both with the Indian and the Dutch audience. As an artiste, Kalpana claims that she does not believe that a work always has to make its audience understand it. Rather, she wants her audience to feel something, be it good or bad. “Everybody takes something home. My work is very layered that way. I do not take myself as a follower, I am very much a leader, more of a rebel. I have things to say and I really require that freedom. The role of an artiste is to also be ahead of their times, be a visionary and respond to things. My contemporary work allows me to make my contribution. There are a lot of people who do amazing Bharatanatyam. Do I want to be another one of them or do I have something else to say? Especially in a complex society like India, where the daily life is a mix of the traditional and the contemporary, contemporary work is important to start to free the mind and reflect on what is going on. In that hour or two that I get with my audience, I want to share something special in the way that I would do it, not the way I am supposed to do it, or everybody has been doing it.
“Simeon” is a tribute to the Dutch contemporary music composer, Simeon ten Holt. The choreography intertwines classical music with Bharatanatyam and contemporary dance. “The work is a response to the ethos of mankind, which is survival. The topic is individual and the society, as to how you hold on to yourself, have your own vision and not give it up. The music is very rhythmical. The footwork goes with/against the group, the dancer is alone/not alone, deriving their own individuality. The hand gestures are repetitive but create a certain energy with that repetition, bringing out emotions and moods. We don't look for ways to express the technique, instead we know what we want to express and look for the technique that can be used,” says Kalpana.
“Simeon” will be presented in two parts – “Canto Ostinato” and “Lemniscaat” - by eight dancers - Anuradha Pancham, Indu Pandey, Kalpana Raghuraman, Rosanna Boom - ter Steege, Usha Kanagasabai, Lars de Vosen, Goda Zukauskaite and Sooraj Subramaniam. The music is by the Matangi Quartet, with Maria-Paula Majoor and Daniel Torrico Menacho on the violins, Karsten Kleijer on viola and Ann van der Vuurst on cello.
(It will be presented by Hamsadhwani, a cultural non-profit organisation based in Chennai and IGL at Siri Fort Auditorium on July 7 at 7:30pm.)
