For Prathibha Prahlad, decades of dedication to Bharathanatyam and teaching young artistes started with a determination to make a mark in the world of classical dance, particularly as a representative of Karnataka. Now, the Bengaluru-origin Padma Shri awardee’s Prasiddha Foundation, which she started to promote classical dance, is celebrating its 40-year-anniversary with a three-day festival, Prasiddha@40 – A Golden Era Redefined, in New Delhi.
“Back in the ’80s, I belonged to a very small group of dancers who were articulate when most artistes did not have the necessary education to speak for themselves and fight for their rights. Because I had education on my side, instead of just building my own career, and lobbying for my own awards, I invested all my time, energy, and money in creating these platforms for the arts,” says Prahlad, reflecting on her journey.
The event, which kicked off on Monday is titled Ramayana Chaitravali and is not only a celebration of classical dance’s legacy, but offers a refreshing perspective on ancient tales, particularly focussed on the overlooked women of the Ramayana. “I always wondered why the women of Ramayana are not spoken about,” says Prahlad, adding “I want to show the strength, resilience, ability, and energy of these women who propel the story of Rama forward.” The festival witnessed the premiere of Samarthya, a performance by Prahlad on these themes.
Featuring artistes of diverse age groups including Mithun Shyam and Surya Rao, other highlights include Prahlad’s performance, Ekam Sat, and another titled Bharat After Mahatma, a blend of Bharatanatyam with elements of yoga and meditation. “It is very different because Gandhiji and his ideas were political and philosophical. To translate that through classical dance is a challenge because it’s not theatre where you are a character with dialogues,” explains Prahlad.
Reflecting on the current artistic landscape in India, Prahlad laments deteriorating standards, saying, “The government spends the budget for culture without paying attention to the quality of the performers, their contribution, and quality of the audience. This money could be well-spent in garnering the best talent, and giving youngsters an opportunity alongside senior dancers.” She adds, “The challenge is in solo performance. Holding the attention of an audience for two hours is a real strength and test of your calibre as an artiste.”
Prahlad credits B’luru for being a constant support, saying, “My heart is always with Bengalureans who embraced me initially and gave me all the support I needed to become visible on the national stage...as an artiste, as long as I love to dance, and as long as other people want me to, I will dance – for the satisfaction of my soul,” she signs off.