CHENNAI: Effortlessly blending aesthetics of both the traditional and contemporary, renowned danseuse and Bharatanatyam exponent Rama Vaidyanathan brings to her dance a sense of devotion…something she calls ‘spiritual fulfillment’. “Every time I perform on stage it’s for an audience in different age groups and background. It’s amazing how even an hour of dance can change perspectives. I am always struck by the power of the art,” she says. With several noteworthy productions under her belt, Rama, who’s excited about her next act ‘Vivartana’ that will be staged as part of The Mudra Dance Festival at NCPA talks to CE about her fresh approach to dance. Excerpts follow...
You ‘intensive’ training under legendary gurus…how did it shape you?
I started learning Bharatanatyam when I was six under my first guru Yamini Krishnamurthy. Later, after I got married at 19, I was fortunate to have found a guru in my mother-in-law — Saroja Vaidyanathan. I had learnt fantastic techniques from my first guru but I got the platform to showcase my skills because of my second guru as she was the one who launched me.
How would you describe your thought process while choreographing a dance piece?
It was only after I started learning under some of the best teachers that I began taking the art form more seriously. Somewhere down the road, I developed an intense bond with the dance form. I wanted to have a unique style but, trust me, I didn’t realise that I had a distinct style until people told me so. It wasn’t a style that was created consciously…it just happened over time. I gave it a proper form and made it into something that I can teach the next generation.
Who’s that one person who has played a huge role in you becoming a dancer?
My mother of course! It was her dream that I become an accomplished dancer and she was the one who fuelled the interest in me as well. I had my ‘arangetram’ when I was 10 and today, whatever I am, it’s only because of my mother’s support. I attribute my success to her efforts in making me realise my potential.
Do you have any special memories attached to a performance of yours?
There was a day when I performed in a college for boys. They were the typical youngsters who chat and pass comments at traditional attires and dance forms. We get that a lot! But, as soon as I started performing, their mannerisms changed, they started to get involved in the dance and they seemed like a different group of people after the performance. As a dancer, to transform people through my art is simply thrilling. It amazes me every time: such is the power of dance!
The first time you received a standing ovation?
It was when I performed in Moscow, for the anniversary celebration of the French Embassy in Russia. The venue was swelling with almost 2,000 people and yet I was able to give my best. At the end of the performance, I received a standing ovation…and as I was acknowledging it with a traditional ‘namaskaram’, I thought to myself ‘Wow, I am getting a standing ovation, I have become a big dancer!’. I was young and it was the first time that I was getting a standing ovation…I was elated! As I was walking back to the green room, I heard a Russian woman run up to me…she was panting and she said ‘you’re dance was very good!’ and I thanked her. Then, something happened…she asked what my name was! That’s when I realised that it doesn’t matter who I am, it’s the dance that touched her. This was the moment that changed everything for me…I realised that the art is bigger than the artist and the dance is bigger than the dancer. It wasn’t me who was expressing through dance, but dance was expressing itself through my body. Since then I have started looking at the art form more through the lens of devotion and spirituality than anything else.that touched her. This was the moment that changed everything for me…I realised that the art is bigger than the artist and the dance is bigger than the dancer. It wasn’t me who was expressing through dance, but, dance was expressing itself through my body. Since then I have started looking at the art form more through the lens of devotion and spirituality than anything else.
What’s your take on the ‘guru-shishya’ parampara?
The connection between the guru and shishya is very important. There has to be long hours of training with the guru…by training I do not only mean the rehearsals- attending classes, being there for performances and even being around during the process of having make-up done is important for the shishya. It’s the gurus’ experiences that the students have to take in…because, at the end, it’s important for me to not allow my students to commit the same mistakes I did.
The dance performance will be held on April 21 as part of The Mudra Dance
Festival at Experimental Theatre NCPA,7 pm onwards. For details, call 66223724