CHENNAI: Padma Shri, Central Sangeet Natak Akademi award, Kalaimamani (Tamil Nadu State award), Sapthagiri Sangeet Vidwanmani (Tirupathi), Kalashree… these are only a few of the prestigious awards conferred on Bharatanatyam dancer and professor Sudharani Raghupathy.
In the field for 70 years, she has a lot to say about the art. “Bharatanatyam has evolved to a great extent. It has become quite popular — a lot of men also want to pursue the art form today,” she says. Though she doesn’t perform anymore due to health issues, she continues to do abhinayas, some choreography and rehearsals. Excerpts of the interview…
Please tell us about your gurus
I started dancing at three and my first guru was my neighbour Saraswathi. I switched gurus in between and until I was five, I was guided by Lalitha Durai in Bengaluru and Kaushik till I was 10. Later, I began to train under US Krishna Rao and also Late Kittappa Pillai of the Thanjavur quartet. I then took advanced lessons under Mylapore Gowri Ammal. My training in Carnatic music was under violin maestro, T Chowdiah and Vidwan Madurai N Krishnan. I studied modern dance too in 1964.
How do you choreograph a dance piece?
I first pick a subject and then begin my research… I read up on it, refer sculptures and then decide on an idea. I usually picture my entire choreography on a piece of paper, and then work on the music and
the dance.
Among all your performances, which one is your favourite?
It was the Krishnam vandhe jagadguru in 1992, a production on Krishna and Krishashtakam woven into a dance production. It was special because I did it for the International Dance Alliance. This performance was unique because top students of various gurus took part in it. I only had one student of mine. This performance took place in various cities in America and they still remember it. (smiles)
Your take on the guru-shishya parampara?
It is very important — it’s a cordial relationship. A guru should give 100 % encouragement. When I was a student, I couldn’t question my guru, but today things are different — children are smarter.
Have you got teary-eyed in any of your performances?
There have been many such instances. One was at the Perambur Sangeeth Sabha (1970s), where I was performing Kanden Seethaiyai, the scene when Hanuman describes Sita as a beautiful painting covered with cobwebs. I performed that scene and in that moment, the orchestra stopped, there was pin-drop silence among the audience and everybody was in tears.
How did you feel when you received the Padma Shri in 1988?
I received it for the art form, not for me. Some people say Bharatanatyam is a museum piece and it is not alive, but when I received the award, I was very proud of the art and believed that the lord gifted it to me.
Tell us about a performance for which you received a standing ovation…
I danced at the UN in December 1981 after receiving an invitation from the then secretary general, Kurt Waldheim. It was the year of the disabled. That’s when I received a standing ovation. I felt humbled.
How have you implemented Martha Graham’s style of dance in your career?
She uses yoga in her dance. Although I had heard about it when I was under Kittapa Pillai, I got acquainted with the technique in 1964 at the Randolph Macon’s women’s college, Virginia.
Does language play a role in Bharatanatyam?
Yes, we have to know quite a few languages. It’s important to know the meaning of the songs we are performing. Though dance rises above language and caste barriers, understanding the language helps us to interpret it in a better way.