It’s seven in the evening; the sky is tinged purple. The scorching summer sun has set but the air is still warm and humid. The pedestal fan placed in the little open space facing the rehearsal area provides some relief. Clad in an elegant sari, matched with tasteful accessories and hair neatly tied up, Malavika Sarukkai sits under the bougainvillea tree with cheery pink flowers hanging languidly to talk about her journey forward. There’s a meditative calmness about the house that seems to find its way into her dance too. “This shrub,” she smiles, pointing to the bougainvillea, “has grown so tall, I think, listening to all the music here. This house has been witness to my artistic progression over the last 25 years.”
The launch of the Kalavaahini Trust this year, marks another turning point in this Bharatanatyam exponent's career. Through this initiative, she hopes to get young dancers to think seriously about dance tradition, change and quality of presentation. This, feels Malavika, is important for the future of the arts. “We plan to organise a series of events that celebrates the intangible heritage and creates experiences that stand the test of time,” she says.
Fifty years of dancing
This year is also crucial because she completes 50 years in dance. “That’s a lot,” she laughs.
“It’s been a sustained but lonely journey, terribly lonely. I was fortunate, though, to have my mother with me. And now, at this point, I feel a sense of responsibility. I want to give back to the art that has given meaning and purpose to my life. I am keen on doing something for the next generation of artistes. As an insider, I know how to support or reach out to them.”
- Supported by Tata Trusts, a junior fellowship will be awarded annually to a dancer for further training, while the senior fellowship will provide financial aid to a promising dancer to choreograph a production.
- This year, the junior fellowship is being given to Mohiniyattom artiste Sandra Pisharody (disciple of Nirmala Paniker).
- Sheejith Krishna, the recipient of the senior fellowship, will present his work ‘SivaRamaKrishna’ at a special event on April 12 (6.30 p.m.) at Bharatiya Vidva Bhavan, Mylapore.
- Dance Immersion Programme will have veteran artistes talk about various aspects of the art. The highlight of this year’s programme was a workshop by C.V. Chandrasekhar
- Kalavaahini productions will feature talented dancers, who will be paid to train with Malavika.
- The Trust will premiere its next production by the end of this year.
- Interdisciplinary dialogue and conversations among artistes. In the future the Trust hopes to expand to include musicians.
Through Kalavaahini, Malavika hopes to create a space and environment for young dancers, pursuing different styles, from across the country. The Trust will look out for dancers who are serious about their art and do not believe in merely moving from one performance to another. “I understand their anxieties, concerns and confusions. On the surface there seems to be opportunities, but there are several vying for them and there are also those who, perhaps, should not even be contending. It is tough to keep faith in this climate. Funds are also a major problem. Dancers are paid very less. It means only those with deep pockets can survive,” rues the choreographer-performer, who has now taken on the role of a mentor.
However, she is certain that to find an audience, dancers have to raise the bar. The way one looks at classical dance has to be reinvented, emphasises Malavika. “Reinvention is not giving up the margam; it is about going deeper into the form. Finding beauty in details; giving free reign to imagination. You need to create productions with quieter elements, beauty of spirit, flamboyant technique and stunning presentation.”
In an effort to promote excellence, she wants Kalavaahini to be the channel that can make a change, even if in a small way. “A lot of experiments are happening but there is a lack of inner experience, which is the core of the art. I keep telling those who come to me to train that if they do real sadhana, they are sure to reach from 0 to 100. I wish to back those who want to take the long, arduous route, despite the many distractions and short cuts.”
Story of struggle
The founding of the Trust is inspired by Malavika’s own struggle to establish herself as an artiste of reckoning. At 16, she decided it was only dance for her. But, she came with hardly anything. With no financial support, she didn’t know how to go about chasing her dream. “I didn’t know if I had the ability and whether I would ever make it. I risked everything. Academics, marriage...nothing seemed to matter more than dance. My mother was certain that if I wanted to dance, I should. She was my emotional, psychological and spiritual anchor. I would practice for hours on the terrace of our house; the hard surface hurt the feet. I travelled in second class coaches, lived in ordinary hotels and had to make do with frugal meals after performances. But the hardships couldn’t weaken my passion for the art; they only made me resilient. I believe only those who have the grit will be in it for the long haul.”
Kalavaahini happened at a time when she was living with the grief of her mother’s demise. For four months, she stopped dancing. With no sound of the salangai, silence took over the rehearsal space. “I didn’t want to step on the dance floor. It was difficult dealing with her loss. Gradually, I realised only dance can help me get my rhythm back.”
Published - April 06, 2017 03:55 pm IST
