CHENNAI: Natya Kala Conference (NKC), that takes place every December in Chennai, is an event where dancers, students, critics and scholars gather and brainstorm artistic ideologies and techniques for five days. Usually, a senior classical dancer is conferred with the role of the convenor for a period of two years. This year, danseuse Rama Vaidyanathan took over the role and decided to do it differently. For instance, in an attempt to establish that the arts weren’t for free, the conference was ticketed unlike the previous editions. Despite the registration fee, the event saw the participation of over 800 delegates, some even from Bengaluru.
After her successful debut as the convenor, the Bharatanatyam exponent ushered the new year with a solo concert in Bengaluru at the Indira Nagar Sangeetha Sabha Annual Conference. For Rama, Bharatanatyam is a strong medium of communication. She often uses her dance vocabulary to create path-breaking compositions — the Mayur Alaripu (The dance of the peacock), where she uses a traditional rhythmic structure to capture the bird’s movements, and Brhamajaladhara, the story of river Ganga, another acclaimed production are classic examples. In a tete-a-tete with CE, the director of Ganesa Natyalaya, New Delhi, discusses keys issues concerning Bharatanatyam today. Excerpts follow.
What are your takeaways from the Natya Kala Conference?
My first takeaway is immense faith in the next generation, and the future of Bharatanatyam. Secondly, how important it is to introspect and analyse our art and traditions.
Coming from a lineage of dancers, did you always want to be a professional dancer or were you ‘guided’ to be a dancer?
I’ve always wanted to be a dancer. I was in awe of my guru, Yamini Krishnamurti, and wanted to do anything to become like her. After watching her perform, I decided that it will be nothing but dance for me. My mother was a huge support.
Did you have to give up something for dance?
Dance is so much a part of my life that I don’t think I have given up anything for it. In fact, dance has helped me become a better person.
At the session on arangetram at NKC, issues like the appropriate age or years of practice weren’t discussed. Why?
I agree that many points were not discussed because of paucity of time. But then, no duration is good enough to discuss such complex issues. We shall certainly discuss them the next time.
Sometimes, dancers are forced to become nattuvanars due to lack of opportunities to perform. Who can be a nattuvanar or a conductor?
Dance or mridangam training is important to become a nattuvanar. Earlier, only gurus were nattuvanars, but now even young dancers do it. I think it’s good. They are getting an income that can augment their dance career.
How do you manage your roles as a dancer, guru, wife and organiser?
I stay away from excessive social media use, or chatting on the phone aimlessly. Since I travel a lot, I try to stay at home as much as possible, keeping my social engagements to the minimum.
How do you choose the items for a particular performance?
I spend a lot of time choosing what to perform for every concert. The effort is to present something that I have not performed to that audience.
How viable is dance as a career option?
Struggle awaits every aspiring dancer. But there is light at the end of the tunnel if one follows three things — consistency, hard work and patience.
Classical arts don’t seem to attract youngsters anymore. What can be done to change this?
Youngsters will get interested in classical arts only if we have good teachers who can train, mentor and inspire. The rest will fall in place automatically.
In the age of ‘likes’ on social media, does a dancer care for reviews?
There are dancers who are satisfied with likes, followers and positive comments on social media. But that will not last long. What will sustain is performance in front of a real audience who will give you a critical review. It is important to pay heed to criticism, because after the initial hurt, it is going to help the dancer.