‘I didn’t take shortcuts’

Sattriya needs wider patronage to remain alive honourably, says its well-known exponent Mallika Kandali

Mallika Kandali.

Mallika Kandali is a well-known Sattriya dancer from Assam. A winner of the Devadasi National Award, Guwahati-based Mallika also learnt Odissi. In an interview here, the dancer says she never compromised with the learning process which has borne her good results. “I never took shortcuts,” she states. Excerpts:

What would you call your strengths as a dancer that bagged a recognition like the strengths made you receive the Devdasi National Award?

Sincerity and dedication are the two key factors which, I believe, have taken me to the level required to get recognition like this award. I do believe that it is a prestigious award which brings in performers from different classical forms of India and celebrate the richness and diversity of Indian culture. Success does not come overnight. To keep up to the expectation level in the society, one has to put lot of hard work consistently.

What is the biggest challenge you face as a Don’t you face any challenge as a Sattriya dancer?

The biggest challenge is the lack of consistent patronage. Presently, it is only the Government which provides the major patronage to the dance form but it covers only a small arena. Wide range of support to teach bigger groups of students will be really beneficial to keep Sattriya alive honourably.

You did a comparative study of Sattriya and Odissi dances? What triggered it? Why did you choose comparative study of Sattriya and Odissi dances?

I chose the topic to explore the historical aspects of the art forms, the connectivity between the two cultural spaces. I learnt Odissi from Guru Garima Hazarika from 1986 onwards for research purpose and also have a diploma in Odia language to make things easier for me. Along with my dancing career in Sattriya, I have been trying to communicate the important aspects of the art form through my writings. In the process, I have published two books on the subject — one in Assamese and the other in English. Many readers, particularly the researchers, have accepted both the titles as handbooks in their learning process. This makes me feel happy.

On what aspects of dance /choreography do you stress most?

I always stress on the form of the dance and successful portrayal of it. To be successful in this line, I do believe that hard work and consistency in learning are the two key factors. One has to believe in the path and offer oneself to the path with utmost passion and dedication. The choreography has to be aesthetically acceptable and meaningful. At the same time, it has to corroborate with the basic grammar of the concerned dance form and the music used in it.

What do you think should be the role of the dance guru?

What has been learnt has to be propagated in practice through the disciples and when pursued properly would certainly enrich the tradition. The guru should play the role of a parent to give everything selflessly so that the disciples get the real knowledge in the subject and excel in the path of attainment.

How do you see yourself as a guru?

To become a guru is a difficult task. I still feel I am a student, because the field of Sattriya is a very vast area. However, when I teach my students, I always try to follow a system and methodology which suits them to learn properly according to their individual capacity and psyche.

Do you give them any liberties that are outside of the traditional form?

I give that kind of liberty which gives the students the freedom to learn and use their creativity within the framework of the learning process. Enough space is provided for interaction on the theoretical understanding of the form and the tradition.

Can Is the structure of the dance form be stifling stifled?

It need not be so. A lot of creative experimentations can be done by using the basic parameters of the dance form. In other words, any dance form can always strive to rise above the confines of established tradition to articulate one’s creative potentials by keeping intact its basic distinctive form.

In your observation, how strongly does classical dance reach out to the audience?

It is true that appreciators of any classical dance are limited. Still, a good performance always attracts a larger chunk of audience. In the case of Sattriya, the continuity of its acceptance since its inception in the 15th Century speaks volumes. The scenario of Indian classical dance is quite vibrant. It is gaining popularity abroad too. The number of dance institutions is fast increasing. A healthy competition amongst these institutions will certainly pave the way for a desired level of expectations.