A lot has been said about the diaspora who have distinguished themselves in almost every area of human experience . In fact, the 20th century has witnessed the largest volume of migration across the globe. Next to the Chinese, it is us Indians who have populated this planet in the furthest reaches of Alaska and Papua New Guinea. Where the ‘desis’ go, there also goes the culture, religion, food, dress and other customs and oddities. As much as we in India tend to poke fun at or envy the lifestyle and success of hundreds of our fellow Indians outside our shores, we rarely stop to think of the immense hard work and sacrifice that such success has demanded. Ask any Indian who lives within the geographical boundaries of this subcontinent to work the long hours of the New York news stand owner, a London garbage collector or a Chicago taxi driver and they will shudder at the sheer robotic nature of the job requirements.
When it comes to the arts, I see a glaring gap in commitment and focus. This is the season for the dancers, musicians and arts student to fill our streets and stores. These visitors are smart, focused and prepared. Their arts calendars are planned with rehearsals, special classes and concert outings mapped out on their hand helds and I Phones. They do not carry the excess baggage of groupism or cronyism that plagues our local students and seniors. They watch, listen, discuss, learn and rehearse repeatedly. They take notes, do their homework and are model students in a classroom or in the auditorium where their punctuality and decorum are enviable. This is because they know how difficult it is to make an impact in their respective cultural constituencies as professional artistes.
Ask any teacher about the differences in teaching their foreign or NRI student compared to a local person and the answer will invariably favour the outsider. For every brilliant India-based Indian dancer and musician, there are too many local hobbyists who erode the hard work of the serious practitioners. Already the academic centre of Indian dance and music has moved outside India. There is no serious scholarship or discourse worth mentioning in our country. Nobody here is interested in anything that is not cosmetic, glamorous or entertaining. In contrast, the presentations by Indian academics and scholars from overseas are objective, analytical and well researched.
In a society that spouts homilies about the “inner core”, dipping into the “sacred waters of art” and partaking of a “divine experience”, it is about time that we call ourselves what we are. Hypocritical double speakers who talk out of the sides of our mouths. If we truly care about the arts, we should accept those who are striving every minute’ in further soil’ by transmuting and transforming our traditions and practices into classrooms, museums, concert halls, special needs and audience outreach. So let us stop poking fun at their stilted accents and their readiness to genuflect at a blink. Through the arts they perhaps love country more than many of us who reside here. In recognizing their contribution we honour ourselves.
Monday, December 27, 2010
Tuesday, December 14, 2010
Andal’s Sufi Sister
In the Tamizh month of Margazhi ( mid December to mid January), the evocative poetry of one of South India’s favourite female mystics is heard everyday in many homes. Usually in the iconic voice of the late M S Subbalskhmi, but also re-recorded by almost every Carnatic musician of any standing, Andal’s passionate love poems directed to Lord Ranganatha of Srirangam are held up as a lone woman resistance to the patriarchal society of the early 9th century AD South India.
Unknown to the beloved daughter of Vishnu Chittan, head priest of the temple at Srivilliputtur, another woman in the western deserts of Syria had heard the voice of her Lord one hundred years earlier. Rabia Al Basri was born in 717 AD in the small town of Hijri. Born as the fourth (rabia) daughter of a poor merchant, she was sold into slavery and endured many harsh duties as a household servant. One night, her master spied upon her midnight prayers and was shocked to see a halo surrounding Rabia’s face. He immediately freed her and she travelled into the desert to continue her monologue with her beloved. Resisting many offers of marriage, she claimed that her life did not need any distractions from human beings. It was Rabia who introduced the concept of DIVINE LOVE to Sufism. She believed that the Lord could be loved without fear or guilt as her predecessors in the Sufi tradition had preached.
Oh Allah, if I fear Hell, burn me in Hell
If I pray for Paradise, exclude me from Paradise
But if I worship you for your own sake
Do not exclude me from your everlasting beauty!
Rabia Al Basri lived as a celibate upto to the ripe age of 80, denying herself all luxury except for a mat, a broken jug and a brick for her pillow. Her Tamizh ‘sister’, however, did not have such a long life. Immersed in dreams, prayers and poems of her beloved Vishnu, Andal’s ‘pasurams’ contain threats, pleas and impassioned outpourings of immense love and longing. Nature was her favourite metaphor.
Storm clouds caress my Lord’s shoulders
He stands mightier than a mountain
Dazzling, green, with red Lotus lips
Listen birds to my songs and wing them fast to His ears!
Slowly starving herself in unrealized longing, Andal is believed to have been ‘absorbed’ into Vishnu’s form before she was 22 years old. Today she has found a pride of place alongside Vishnu’s consort, Goddess Lakshmi, in all South Indian temples and her story is among the earliest in the long and colourful lineage of female mystics in India.
As we listen to Andal’s eternal poems and remember her life in this special month, let us also recall her elder ‘ssiter’ Rabia who softened Sufism with her love and was the first among female mystics in the Sufi tradition.
Unknown to the beloved daughter of Vishnu Chittan, head priest of the temple at Srivilliputtur, another woman in the western deserts of Syria had heard the voice of her Lord one hundred years earlier. Rabia Al Basri was born in 717 AD in the small town of Hijri. Born as the fourth (rabia) daughter of a poor merchant, she was sold into slavery and endured many harsh duties as a household servant. One night, her master spied upon her midnight prayers and was shocked to see a halo surrounding Rabia’s face. He immediately freed her and she travelled into the desert to continue her monologue with her beloved. Resisting many offers of marriage, she claimed that her life did not need any distractions from human beings. It was Rabia who introduced the concept of DIVINE LOVE to Sufism. She believed that the Lord could be loved without fear or guilt as her predecessors in the Sufi tradition had preached.
Oh Allah, if I fear Hell, burn me in Hell
If I pray for Paradise, exclude me from Paradise
But if I worship you for your own sake
Do not exclude me from your everlasting beauty!
Rabia Al Basri lived as a celibate upto to the ripe age of 80, denying herself all luxury except for a mat, a broken jug and a brick for her pillow. Her Tamizh ‘sister’, however, did not have such a long life. Immersed in dreams, prayers and poems of her beloved Vishnu, Andal’s ‘pasurams’ contain threats, pleas and impassioned outpourings of immense love and longing. Nature was her favourite metaphor.
Storm clouds caress my Lord’s shoulders
He stands mightier than a mountain
Dazzling, green, with red Lotus lips
Listen birds to my songs and wing them fast to His ears!
Slowly starving herself in unrealized longing, Andal is believed to have been ‘absorbed’ into Vishnu’s form before she was 22 years old. Today she has found a pride of place alongside Vishnu’s consort, Goddess Lakshmi, in all South Indian temples and her story is among the earliest in the long and colourful lineage of female mystics in India.
As we listen to Andal’s eternal poems and remember her life in this special month, let us also recall her elder ‘ssiter’ Rabia who softened Sufism with her love and was the first among female mystics in the Sufi tradition.
Monday, December 6, 2010
Murky Spaces
An artiste seeks the perfect ambience for a performance. The physical space, the preparation areas, green rooms, dancing floor,the distance between the stage and the first row of seats, the acoustical design of the theatre all contribute to some theatres being more coveted than others. In a city that has already begun its month long carnival of dance and music, this is perhaps the right time to survey our cultural spaces as the NRI ’ rasikas’ descends upon us.
I was at the re-opening of the newly renovated RUKMINI ARANGAM in Kalakshetra. Seated in the first row brought back memories of the time when the late Rukmini Arundale watched all her celebrated dance productions take shape in that serene, aesthetic space. The triangular pyramid like roof with a thatched interior surface, now weather proofed, a large semi circular stage reaching out to the audience and the traditional floor-seating area that is always occupied by the students, offered a simple throwback to the genius of traditional architecture in consonance with local weather and behaviour patterns. Even the incoherent dance performance did not deter my enjoyment as my mind flowed back to the days of rehearsals for RAMA VANAGAMANAM , where I played Kausalaya along with Apollo Hospitals chief Preetha Reddy who played Sumitra.
Today we are forced to park our cars on the streets due to ill designed halls, conceived by disconnected architects or myopic chartered accountants who only look at the cash register and not at the experience of ‘sahridaya’. Add a concrete performance space that is ruinous on stamping feet, there are the filthy toilets, makeshift green rooms, invisible rehearsal spaces, inadequate lighting equipment and poor acoustics. The seating area usually carries the remnants of the previous occupant’s saris or dupattas. The main auditoriums have a smaller ‘sister’, called the mini-hall. Here the imagination has really been stunted, since the opportunity to build a truly smaller’black box’ theatre to accommodate 100 to 150 people with excellent acoustics has been lost. The beautiful ” Sittrarangam”, built 25 years ago in the Island Grounds space is abandoned since it is in the wrong geographic location of the city.
Can you imagine cultural spaces like Esplanade in Singapore, Sadlers Wells in London or Lincoln Centre in New York that will allow its auditoriums for hire for computer classes and a corporate AGM? Can you imagine a Bollywood singer entertaining a family wedding party while kids run around eating food on the same stage that a world class artiste has just performed on the previous night? This is what our hallowed spaces around the country actually witness during the year or the ‘low season”. This is because NO cultural space, built by corporate philanthrophy has been sufficiently endowed to curate a year round cultural calendar. They also do not have qualified staff for audience and programme development.
Bhanot may have angered us by his hygiene comment during the Commonwealth Games, but artistes in India know he speaks the truth. Why do artistes put up with such low standards? It is plainly because the demand and supply ratio of singers and dancers to the spaces available is so lop sided that most artistes are willing to perform in ANY small square space with chaos and unprofessionalism around them. During this month, we have to prepare to set up and perform within FIFTEEN MINUTES after the classical musician has finished his/her performance.
In our seventh decade of independence, we are still looking to the British, French, German and now the Korean to provide us the ‘other’ experience of contemporary and innovative work. The city’s Alliance Francaise has a renovated stage with shower stalls for the performers after the show.
When will the “KALAI KAVALARS” wake up and when will the artistes protest loudly enough to affect a change in attitude. When will we have an integrated space like the National School of Drama, New Delhi, where actors and dancers can train, rehearse, perform, interact, discuss, argue, study,create and collaborate through the year. Where the artist is respected and artistic activity is enshrined as a legitimate creative process.
I was at the re-opening of the newly renovated RUKMINI ARANGAM in Kalakshetra. Seated in the first row brought back memories of the time when the late Rukmini Arundale watched all her celebrated dance productions take shape in that serene, aesthetic space. The triangular pyramid like roof with a thatched interior surface, now weather proofed, a large semi circular stage reaching out to the audience and the traditional floor-seating area that is always occupied by the students, offered a simple throwback to the genius of traditional architecture in consonance with local weather and behaviour patterns. Even the incoherent dance performance did not deter my enjoyment as my mind flowed back to the days of rehearsals for RAMA VANAGAMANAM , where I played Kausalaya along with Apollo Hospitals chief Preetha Reddy who played Sumitra.
Today we are forced to park our cars on the streets due to ill designed halls, conceived by disconnected architects or myopic chartered accountants who only look at the cash register and not at the experience of ‘sahridaya’. Add a concrete performance space that is ruinous on stamping feet, there are the filthy toilets, makeshift green rooms, invisible rehearsal spaces, inadequate lighting equipment and poor acoustics. The seating area usually carries the remnants of the previous occupant’s saris or dupattas. The main auditoriums have a smaller ‘sister’, called the mini-hall. Here the imagination has really been stunted, since the opportunity to build a truly smaller’black box’ theatre to accommodate 100 to 150 people with excellent acoustics has been lost. The beautiful ” Sittrarangam”, built 25 years ago in the Island Grounds space is abandoned since it is in the wrong geographic location of the city.
Can you imagine cultural spaces like Esplanade in Singapore, Sadlers Wells in London or Lincoln Centre in New York that will allow its auditoriums for hire for computer classes and a corporate AGM? Can you imagine a Bollywood singer entertaining a family wedding party while kids run around eating food on the same stage that a world class artiste has just performed on the previous night? This is what our hallowed spaces around the country actually witness during the year or the ‘low season”. This is because NO cultural space, built by corporate philanthrophy has been sufficiently endowed to curate a year round cultural calendar. They also do not have qualified staff for audience and programme development.
Bhanot may have angered us by his hygiene comment during the Commonwealth Games, but artistes in India know he speaks the truth. Why do artistes put up with such low standards? It is plainly because the demand and supply ratio of singers and dancers to the spaces available is so lop sided that most artistes are willing to perform in ANY small square space with chaos and unprofessionalism around them. During this month, we have to prepare to set up and perform within FIFTEEN MINUTES after the classical musician has finished his/her performance.
In our seventh decade of independence, we are still looking to the British, French, German and now the Korean to provide us the ‘other’ experience of contemporary and innovative work. The city’s Alliance Francaise has a renovated stage with shower stalls for the performers after the show.
When will the “KALAI KAVALARS” wake up and when will the artistes protest loudly enough to affect a change in attitude. When will we have an integrated space like the National School of Drama, New Delhi, where actors and dancers can train, rehearse, perform, interact, discuss, argue, study,create and collaborate through the year. Where the artist is respected and artistic activity is enshrined as a legitimate creative process.
Friday, December 3, 2010
Invisible Chennai
An exquisite contemporary dance show from London tours India and avoids Chennai. Another path breaking modern art installation in on view in Delhi and Mumbai and again, avoids coming to the South. What is with these cultural curators? Who sits in the corridors of power sipping tea and scones or ‘chai’ and’ biskuts’ to decide who gets to view these extraordinary art shows? Are we paraiahs? And to think that this month Chennai plays host to the world’s largest dance and music festival in the world. 600 concerts and every space in the city filled with notes and steps. So, if thousands converge onto Chennai for the SEASON and artistes find a discerning audience right here, what prevents the international culture-atti from including our city in their touring calendar?
The answer may lie in the culturally literate, intellectually arrogant and emotionally conservative Chennai-ite. There may have been a time when the greats like Muthuswami Diskshitar, Balasaraswati and even M S Subbalakshmi accommodated the presence and contribution of the ‘other’ with grace and magnanimity. Today Carnatic musicians are sniping at the presence of western instruments, growing beards and spouting philosophy; dancers are hiring annoying PR managers and bludgeoning social media with their false piety. We are in an age of self published bloggers and overbearing PR experts. All because there is no legitimate space or identity for an artiste in our society.
Open the newspapers are look at the job section. Can you find even a single ad for an artiste? WANTED- A music teacher for a school. WANTED- A dance teacher for a college. WANTED – an actor for theatre skills. You will not find a single request for an artiste. Not one. Nobody wants an artiste except between drinks and dinner at five star hotels and fancy gardens. If some institutions are hiring or interfacing with artistes then it is entirely due to the inputs of one particular individual in upper management. If artistes are now considered mere entertainers in this great country of ours, Ivy League universities are actually hiring dancers and composers for their departments of architecture and science! Yes. Harvard University is actively engaged with senior choreographers and dance makers in their international project on urban design. An alternative or out-of-the-box point of view is what everyone wants. And performing artistes can often provide these prophetic insights.
During my tenure as co founder and co curator of the contemporary THE OTHER FESTIVAL, many forms of modernity came to this city and was welcomed warmly. However, all these festival fares focused on the small and experimental works, not large spectacles like Jeyasingh or Kapoor which needed more resources and larger spaces. Until our cultural gatekeepers and funders get their act together, Shobana Jeyasingh Dance Company thrills Delhi, Mumbai and even Bengaluru. (Ironically, Shobana’s major supporter was a Chennai based automobile company, TVS Motors). Sculptor Anish Kapoor’s brilliant art installations enthrall visitors in Delhi and Mumbai. While we, the superior and brainy Chennai-vasi, miss these witty and breathtaking moments with our fixation on purity, authenticity and the sacred. Our singers and dancers thrill world audiences but we are not as gracious to accommodate the truly contemporary and modern interpreters of the form in our hometown. Watching Shobana’s cerebral choreography in New Delhi made me realize why she opted not to visit Chennai, her hometown and former stomping ground. Our senior dancers and gurus would have walked out in rage. Beatboxing rhythms interspersed with dance, film projection, capoeira and uber clean mudras! Sacrilege! Rama! Muruga! Siva Siva! All the Gods would be invoked to set right this ‘injustice!
If only we can remember that our ocean waters meet many other shores. Dismantling this ‘smug’ rasa will release our wonderful city from the clutches of a pseudo conservative aura that continues to hover around it.
I am a dance-actor, mythologist and storyteller. I can be contacted at
anitaa.ratnam@gmail.com,
The answer may lie in the culturally literate, intellectually arrogant and emotionally conservative Chennai-ite. There may have been a time when the greats like Muthuswami Diskshitar, Balasaraswati and even M S Subbalakshmi accommodated the presence and contribution of the ‘other’ with grace and magnanimity. Today Carnatic musicians are sniping at the presence of western instruments, growing beards and spouting philosophy; dancers are hiring annoying PR managers and bludgeoning social media with their false piety. We are in an age of self published bloggers and overbearing PR experts. All because there is no legitimate space or identity for an artiste in our society.
Open the newspapers are look at the job section. Can you find even a single ad for an artiste? WANTED- A music teacher for a school. WANTED- A dance teacher for a college. WANTED – an actor for theatre skills. You will not find a single request for an artiste. Not one. Nobody wants an artiste except between drinks and dinner at five star hotels and fancy gardens. If some institutions are hiring or interfacing with artistes then it is entirely due to the inputs of one particular individual in upper management. If artistes are now considered mere entertainers in this great country of ours, Ivy League universities are actually hiring dancers and composers for their departments of architecture and science! Yes. Harvard University is actively engaged with senior choreographers and dance makers in their international project on urban design. An alternative or out-of-the-box point of view is what everyone wants. And performing artistes can often provide these prophetic insights.
During my tenure as co founder and co curator of the contemporary THE OTHER FESTIVAL, many forms of modernity came to this city and was welcomed warmly. However, all these festival fares focused on the small and experimental works, not large spectacles like Jeyasingh or Kapoor which needed more resources and larger spaces. Until our cultural gatekeepers and funders get their act together, Shobana Jeyasingh Dance Company thrills Delhi, Mumbai and even Bengaluru. (Ironically, Shobana’s major supporter was a Chennai based automobile company, TVS Motors). Sculptor Anish Kapoor’s brilliant art installations enthrall visitors in Delhi and Mumbai. While we, the superior and brainy Chennai-vasi, miss these witty and breathtaking moments with our fixation on purity, authenticity and the sacred. Our singers and dancers thrill world audiences but we are not as gracious to accommodate the truly contemporary and modern interpreters of the form in our hometown. Watching Shobana’s cerebral choreography in New Delhi made me realize why she opted not to visit Chennai, her hometown and former stomping ground. Our senior dancers and gurus would have walked out in rage. Beatboxing rhythms interspersed with dance, film projection, capoeira and uber clean mudras! Sacrilege! Rama! Muruga! Siva Siva! All the Gods would be invoked to set right this ‘injustice!
If only we can remember that our ocean waters meet many other shores. Dismantling this ‘smug’ rasa will release our wonderful city from the clutches of a pseudo conservative aura that continues to hover around it.
I am a dance-actor, mythologist and storyteller. I can be contacted at
anitaa.ratnam@gmail.com,
Monday, September 20, 2010
Karma Chameleon - An ode to India's new dance
Amidst a flurry of preparations for the Commonwealth Poetry Showcase, I find myself teary eyed by the devastating imagery of women’s voices from Nigeria –the country designated to me for a performance.
The raw and ravaged images cascade forth - baby brides , bloodied diapers, a polygamous moon and the Mahapralaya of the final horizon. Nobel Laureate Wole Soyinka and his colleagues have given voice to this African country’s beauty and squalor. For those of us who know of Nigeria as the source of email scams, the imaginative words and determination of Soyinka, Achebe and others comes as a gorgeous gift.
I have just completed a lengthy article on the valid presence of contemporary Indian dance for a publication. While writing the piece, I was torn between the struggle of the young artistic dance makers and their constant collision with the smug condescension of the classical community who conveniently call their work “contemporary” . While India’s modern dance remains an urban activity, pushed into a marginal hole for the elitists who are impatient with the linearity and posturing of classical dance today, the new dance makers are also guilty of convoluted hyperbole and twisted tongues in their description of their work. Just read through some of the new vocabulary that precedes these contemporary dances and you will be left confused with the gratuitous and self indulgent allusions that never manifest on stage. It is a tough call to make but my vote is for contemporary dance and its further development in India.
With this statement, I also welcome two dance festivals INTERFACE by Sapphire /Sudarshan in Kolkatta and IGNITE by Gati/Anusha in New Delhi. Both events are finally focusing exclusively on assessing contemporary dance in India and the diaspora. One is happening as I write this and another in November. The points of concern as those that were raised by PULSE editor in London, Sanjeevini Dutta. After the third session of Unlocking Creativity (UC3) she has felt that the signature markers for South Asian/Indian contemporary dance are yet to evolve. Unlike Taiwan’s Cloud Gate Theatre which has synthesized Chinese philosophy into a seamless blurring of their modern performances, South Asian contemporary dance is still too enamoured with the western model that is easily available for training. However, with most Indian dancers trained for longer periods in their classical dance forms, this hurried modern training never quite ‘digests’ easily into a complete and convincing vocabulary. Only time will tell.
Until then, I congratulate Anusha, Sudarshan and all those bright men and women who continue despite the state ignoring them while western presenters have finally woken up to the potential excitement and thrill of modern India through the words of Daksha Sheth, Tanusree Shankar, Sharmila Biswas (neo classical) and Veenapani Chawla. For the first time, the classical dance component with Malavika Sarukkai, Madhavi Mudgal and Alarmel Valli find themselves in the minority.
Congratulations to the luminous Madhavi Mudgal for the glorious tribute in the New York Times for her artistry. Bravo to all our superb dancers and actors who work tirelessly to perfect their craft and remind others that it is these soft skills that distinguish us in a world of machine and raw power.
Enjoy.. sweat.. drink.. eat.. laugh.. DANCE
The raw and ravaged images cascade forth - baby brides , bloodied diapers, a polygamous moon and the Mahapralaya of the final horizon. Nobel Laureate Wole Soyinka and his colleagues have given voice to this African country’s beauty and squalor. For those of us who know of Nigeria as the source of email scams, the imaginative words and determination of Soyinka, Achebe and others comes as a gorgeous gift.
I have just completed a lengthy article on the valid presence of contemporary Indian dance for a publication. While writing the piece, I was torn between the struggle of the young artistic dance makers and their constant collision with the smug condescension of the classical community who conveniently call their work “contemporary” . While India’s modern dance remains an urban activity, pushed into a marginal hole for the elitists who are impatient with the linearity and posturing of classical dance today, the new dance makers are also guilty of convoluted hyperbole and twisted tongues in their description of their work. Just read through some of the new vocabulary that precedes these contemporary dances and you will be left confused with the gratuitous and self indulgent allusions that never manifest on stage. It is a tough call to make but my vote is for contemporary dance and its further development in India.
With this statement, I also welcome two dance festivals INTERFACE by Sapphire /Sudarshan in Kolkatta and IGNITE by Gati/Anusha in New Delhi. Both events are finally focusing exclusively on assessing contemporary dance in India and the diaspora. One is happening as I write this and another in November. The points of concern as those that were raised by PULSE editor in London, Sanjeevini Dutta. After the third session of Unlocking Creativity (UC3) she has felt that the signature markers for South Asian/Indian contemporary dance are yet to evolve. Unlike Taiwan’s Cloud Gate Theatre which has synthesized Chinese philosophy into a seamless blurring of their modern performances, South Asian contemporary dance is still too enamoured with the western model that is easily available for training. However, with most Indian dancers trained for longer periods in their classical dance forms, this hurried modern training never quite ‘digests’ easily into a complete and convincing vocabulary. Only time will tell.
Until then, I congratulate Anusha, Sudarshan and all those bright men and women who continue despite the state ignoring them while western presenters have finally woken up to the potential excitement and thrill of modern India through the words of Daksha Sheth, Tanusree Shankar, Sharmila Biswas (neo classical) and Veenapani Chawla. For the first time, the classical dance component with Malavika Sarukkai, Madhavi Mudgal and Alarmel Valli find themselves in the minority.
Congratulations to the luminous Madhavi Mudgal for the glorious tribute in the New York Times for her artistry. Bravo to all our superb dancers and actors who work tirelessly to perfect their craft and remind others that it is these soft skills that distinguish us in a world of machine and raw power.
Enjoy.. sweat.. drink.. eat.. laugh.. DANCE
Monday, September 13, 2010
God is gender neutral
God and I - Expresso Saturday September 11, 2010
For Anita R Ratnam dance is her prayer
What are your spiritual beliefs?
I pray, but not on a regular basis. As a dancer, I worship
my body and treat it as my temple. It is with daily cleansing, breathing, exercise, sweat and hard work that I practice the ritual and religion of life. I worship through dance.
I try to use prana as taught by healers, my yoga teacher of 15 years, Sri Nandakumar and my gurus, to listen to my atma and protect the bubble of laughter that is inside of me.
What is your understanding of God?
God is gender neutral. God lives in my 95-year-old grandmother's smile and my mother's luminous eyes that stare back at me from a photograph hung on a wall. God can be kind and cruel and is not responsible for everything that happens on earth.
What are your spiritual practices?
I undertake a two week liquid cleanse or a weekend fast to cleanse myself. I try to watch my dreams and note them down because I am most creative at night. I rise at 5am and visit my home puja space where I read, think and argue with Krishna who smiles back at me. Like dance, God is not just a good friend but also a lifelong companion who will see you through all your highs and lows.
Do you visit any pilgrimage place?
I visit my ancestral village in Tirukurungudi. The place has a magnificent Vishnu shrine and is home to the only all female theatre troupe in the country. It is also the subject of my PhD thesis. Given a choice, I would visit temples daily, sit in a corner and absorb centuries of civilisation through the stories of the stones.
For Anita R Ratnam dance is her prayer
What are your spiritual beliefs?
I pray, but not on a regular basis. As a dancer, I worship
my body and treat it as my temple. It is with daily cleansing, breathing, exercise, sweat and hard work that I practice the ritual and religion of life. I worship through dance.
I try to use prana as taught by healers, my yoga teacher of 15 years, Sri Nandakumar and my gurus, to listen to my atma and protect the bubble of laughter that is inside of me.
What is your understanding of God?
God is gender neutral. God lives in my 95-year-old grandmother's smile and my mother's luminous eyes that stare back at me from a photograph hung on a wall. God can be kind and cruel and is not responsible for everything that happens on earth.
What are your spiritual practices?
I undertake a two week liquid cleanse or a weekend fast to cleanse myself. I try to watch my dreams and note them down because I am most creative at night. I rise at 5am and visit my home puja space where I read, think and argue with Krishna who smiles back at me. Like dance, God is not just a good friend but also a lifelong companion who will see you through all your highs and lows.
Do you visit any pilgrimage place?
I visit my ancestral village in Tirukurungudi. The place has a magnificent Vishnu shrine and is home to the only all female theatre troupe in the country. It is also the subject of my PhD thesis. Given a choice, I would visit temples daily, sit in a corner and absorb centuries of civilisation through the stories of the stones.
Friday, September 10, 2010
A Silent Rebel Against Extremism
The gritty Leela Samson has proved all those who doubted her
wrong after assuming the top spot at Kalakshetra. Now also at
the helm of other cultural bodies, Anita R Ratnam finds she
has her work cut out for her All around me were t r admiring
whispers about her talent. Also swirling r overhead were the s
comments of caste and r community. "She is not a one of us, so
how can she r truly understand", was an oft repeated phrase, t
something that Samson has collided against
When the news of Sangeet Natak Akademi's new chair person was
announced last month, it would have hardly made a ripple and
would have possibly been buried on page six of the daily paper
if not for the individual who had been selected for the
position -Leela Samson. For 40 years, this quiet and
determined woman has stayed the course and followed her
passion -with grit and grace. In her 60th year, she assumes a
position that is both powerful and crucial for India's image
in the world of changing tastes and increasing cultural
incoherence.
The reader may ask, "What is the Sangeet Natak Akademi?" It is
India's premier apex cultural body that was established in
1953 by the first President of the country, Dr Rajendra Prasad
in New Delhi's Parliament House.
Now registered as a society, the Akademi, widely referred to
as SNA, has been headed by cultural and political giants like
Indira Gandhi, Kamaladevi Chattopadhyay, Girish Karnad, KPS
Menon and Bhupen Hazarika.
The more pressing question on many minds is "Why was Leela
Samson chosen to head this prestigious institution?" Samson's
pedigree may not resemble that of a typical bureaucrat, but
her distinguished career has pushed her step by careful step
to this moment. Her Facebook profile photo shows a relaxed
graying woman embracing her two dogs who loiter in and out of
her office on the Kalakshetra campus; a thoughtful speaker, an
insightful writer who wrote a monthly column, The Still Point,
in New Delhi's First City for almost 10 years, a beautifully
controlled dancer and a silent rebel against all kinds of
extremism, Samson is now in the proverbial hot seat. The last
woman head of the SNA was dancer Sonal Mansingh who was unable
to complete her five-year term during the BJP government. That
another dancer, and that too, a woman would once again be
appointed as the head of this most coveted cultural `gaddi'
came as a surprise to many. But upon closer inspection, we
learn that Leela Samson was always someone who was regarded
very highly by the corridors of power. A former guru of
Priyanka Gandhi, Samson has distinguished herself as an
excellent teacher during her 30 years in New Delhi. Her
students testify to her open-minded training methods and many
like Justin, McCarthy, Navtej Johar, Anusha Lal, Aditi Rao and
Anusha Subramanyam have distinguished themselves as classical
and contemporary dancers.
Leela Samson left Kalakshetra for New Delhi in 1975, the same
year I joined the academy for my Post Graduate Diploma in
Dance.
All around me were admiring whispers about her talent and
exceptional performance ability. Also swirling overhead were
the comments of caste and community. "She is not one of us, so
how can she truly understand", was an oft-repeated phrase,
something that Samson has collided against through the years.
Instead of buckling under these innuendos, she has used her
Judeo-Christian back ground to give her both objectivity and
clarity about Bharatanatyam rather than get ensnared by the
semantics and infighting that c often plagues the classical
community. At a recent conference in north America, I found s
her chafing at what has become de rigueur c now, of pitting
her guru Rukmini Devi against celebrated dancer Balasaraswati.
A multiple award winner at the national c and regional levels,
Leela was a prime student of founder Rukmini Devi Arundale and
I toured with the Kalakshetra troupe as one of the principal
dancers for many years. Her s own aesthetic arc has revealed
an austere r composure in her dancing and a surprisingly
eclectic `optic' in her attitude to the arts. As f president
of the Kalakshetra Foundation from 2005, she has quietly
overseen a trans t formation of this seminal cultural space
into a crucible for vibrant cross-pollination of the
contemporary alongside the classical. Festivals, works in
progress, modern Tamizh the r atre, discussions on classical
and contempo s rary music, restoring musical legend MS
Subbalakshmi's piano are only some of the a projects she has
green lighted. Currently the l famous Koothambalam theatre at
Kalakshet a ra is being renovated with upgraded lighting I and
sound systems for the upcoming December season. i Also holding
the position as head of the i South Zone Cultural Centre,
which monitors folk and non-classical cultural activities in
all the southern states, Leela now holds a third r and most
prestigious baton as numero uno of i the SNA. As the 12th
chairperson of this national body, she will oversee the manage
i ment of a large budget from the Human c Resources Ministry
that dispenses grants, scholarships and support in the areas
of a dance, music, theatre, tribal, folk, ritual/tra t
ditional arts and puppetry. The SNA also organises festivals,
workshops and has sepa t rate departments for publication and
docu t mentation as well as a library and a proposed museum of
the performing arts in New Delhi. o She will have to manage
the multiple activi s ties of the regional and zonal centres
of Kathak, Koodiyattam, Chhau and Sattriya dance styles. She
will supervise the animated discussions of the annual SNA
awards which are the most prestigious arts honours in India.
The many SNA committees delegated to the various branches of
the performing arts are comprised of artistes and not
bureaucrats.
Indian performing arts were always the shining international
ambassadors for a country seemingly in the perennial grip of
poverty and want. Maharajas and classical dancers were our
poster boys and girls until corporate India and Bollywood
burst onto the millennium scene. Today, India and all things
Indian is the buzzword around the world.
Young dancers and musicians are not seeking state sponsorship,
having cracked the corporate need for constantly changing
mindnumbing tamashas. There are fewer and fewer of the next
generation willing to commit to a life in dance and music with
monetary returns remaining a distant reality. How will the SNA
grapple with the increasing mediocrity in the arts? How will
it broaden its horizons to accommodate the present global
reality of technology and the popularity of self-published
bloggers, media managers and You Tube podcasts? Bharatanatyam
and Kathak, now global dance forms, have found excellent
practitioners outside India and dance academia are flourishing
outside our shores.
Infrastructure for India's performing arts is dismal. Lack of
trained managers, agents, impressarios, interlocutors,
writers, critics, echnical personnel, a performance network,
ehearsal spaces -the list goes on. Leela Samson has her hands
full.
While cultural appointments are not egarded as prestigious
postings by the Delhi bureaucrats, for a dancer to be in the
driver's eat of such a large cultural institution has equired
patience and resilience.
Leela Samson has faced controversy while ssuming her current
position at Kalakshet a. She will be severely tested again at
the SNA. How will she juggle her appointment book in two
cities? In the field of culture, the wo remaining culture
postings in India are Chairman of the ICCR (Indian Council for
Cultural Relations) which is Karan Singh's portfolio and head
of the IGNCA (Indira Gandhi National Centre for the Arts)
which Kap la Vatsyayan now holds. Then the next step -a Rajya
Sabha seat.
One fact is certain. Leela Samson's new esponsibility will
severely curb her perform ng life. Her recent performance at
Mumbai's NCPA may be one of the last we see of this ntelligent
and dignified dancer. Her two suc essful ensemble productions
Spanda and Charisnu are already inter nationally pplauded and
perhaps her role as dance men or and choreographer may widen.
At an age when many divas stubbornly cling onto cen re stage,
Samson finds herself making a imely and graceful segue into an
eminent position of responsibility, and simultane usly
becoming the single most powerful per on on India's cultural
map.
wrong after assuming the top spot at Kalakshetra. Now also at
the helm of other cultural bodies, Anita R Ratnam finds she
has her work cut out for her All around me were t r admiring
whispers about her talent. Also swirling r overhead were the s
comments of caste and r community. "She is not a one of us, so
how can she r truly understand", was an oft repeated phrase, t
something that Samson has collided against
When the news of Sangeet Natak Akademi's new chair person was
announced last month, it would have hardly made a ripple and
would have possibly been buried on page six of the daily paper
if not for the individual who had been selected for the
position -Leela Samson. For 40 years, this quiet and
determined woman has stayed the course and followed her
passion -with grit and grace. In her 60th year, she assumes a
position that is both powerful and crucial for India's image
in the world of changing tastes and increasing cultural
incoherence.
The reader may ask, "What is the Sangeet Natak Akademi?" It is
India's premier apex cultural body that was established in
1953 by the first President of the country, Dr Rajendra Prasad
in New Delhi's Parliament House.
Now registered as a society, the Akademi, widely referred to
as SNA, has been headed by cultural and political giants like
Indira Gandhi, Kamaladevi Chattopadhyay, Girish Karnad, KPS
Menon and Bhupen Hazarika.
The more pressing question on many minds is "Why was Leela
Samson chosen to head this prestigious institution?" Samson's
pedigree may not resemble that of a typical bureaucrat, but
her distinguished career has pushed her step by careful step
to this moment. Her Facebook profile photo shows a relaxed
graying woman embracing her two dogs who loiter in and out of
her office on the Kalakshetra campus; a thoughtful speaker, an
insightful writer who wrote a monthly column, The Still Point,
in New Delhi's First City for almost 10 years, a beautifully
controlled dancer and a silent rebel against all kinds of
extremism, Samson is now in the proverbial hot seat. The last
woman head of the SNA was dancer Sonal Mansingh who was unable
to complete her five-year term during the BJP government. That
another dancer, and that too, a woman would once again be
appointed as the head of this most coveted cultural `gaddi'
came as a surprise to many. But upon closer inspection, we
learn that Leela Samson was always someone who was regarded
very highly by the corridors of power. A former guru of
Priyanka Gandhi, Samson has distinguished herself as an
excellent teacher during her 30 years in New Delhi. Her
students testify to her open-minded training methods and many
like Justin, McCarthy, Navtej Johar, Anusha Lal, Aditi Rao and
Anusha Subramanyam have distinguished themselves as classical
and contemporary dancers.
Leela Samson left Kalakshetra for New Delhi in 1975, the same
year I joined the academy for my Post Graduate Diploma in
Dance.
All around me were admiring whispers about her talent and
exceptional performance ability. Also swirling overhead were
the comments of caste and community. "She is not one of us, so
how can she truly understand", was an oft-repeated phrase,
something that Samson has collided against through the years.
Instead of buckling under these innuendos, she has used her
Judeo-Christian back ground to give her both objectivity and
clarity about Bharatanatyam rather than get ensnared by the
semantics and infighting that c often plagues the classical
community. At a recent conference in north America, I found s
her chafing at what has become de rigueur c now, of pitting
her guru Rukmini Devi against celebrated dancer Balasaraswati.
A multiple award winner at the national c and regional levels,
Leela was a prime student of founder Rukmini Devi Arundale and
I toured with the Kalakshetra troupe as one of the principal
dancers for many years. Her s own aesthetic arc has revealed
an austere r composure in her dancing and a surprisingly
eclectic `optic' in her attitude to the arts. As f president
of the Kalakshetra Foundation from 2005, she has quietly
overseen a trans t formation of this seminal cultural space
into a crucible for vibrant cross-pollination of the
contemporary alongside the classical. Festivals, works in
progress, modern Tamizh the r atre, discussions on classical
and contempo s rary music, restoring musical legend MS
Subbalakshmi's piano are only some of the a projects she has
green lighted. Currently the l famous Koothambalam theatre at
Kalakshet a ra is being renovated with upgraded lighting I and
sound systems for the upcoming December season. i Also holding
the position as head of the i South Zone Cultural Centre,
which monitors folk and non-classical cultural activities in
all the southern states, Leela now holds a third r and most
prestigious baton as numero uno of i the SNA. As the 12th
chairperson of this national body, she will oversee the manage
i ment of a large budget from the Human c Resources Ministry
that dispenses grants, scholarships and support in the areas
of a dance, music, theatre, tribal, folk, ritual/tra t
ditional arts and puppetry. The SNA also organises festivals,
workshops and has sepa t rate departments for publication and
docu t mentation as well as a library and a proposed museum of
the performing arts in New Delhi. o She will have to manage
the multiple activi s ties of the regional and zonal centres
of Kathak, Koodiyattam, Chhau and Sattriya dance styles. She
will supervise the animated discussions of the annual SNA
awards which are the most prestigious arts honours in India.
The many SNA committees delegated to the various branches of
the performing arts are comprised of artistes and not
bureaucrats.
Indian performing arts were always the shining international
ambassadors for a country seemingly in the perennial grip of
poverty and want. Maharajas and classical dancers were our
poster boys and girls until corporate India and Bollywood
burst onto the millennium scene. Today, India and all things
Indian is the buzzword around the world.
Young dancers and musicians are not seeking state sponsorship,
having cracked the corporate need for constantly changing
mindnumbing tamashas. There are fewer and fewer of the next
generation willing to commit to a life in dance and music with
monetary returns remaining a distant reality. How will the SNA
grapple with the increasing mediocrity in the arts? How will
it broaden its horizons to accommodate the present global
reality of technology and the popularity of self-published
bloggers, media managers and You Tube podcasts? Bharatanatyam
and Kathak, now global dance forms, have found excellent
practitioners outside India and dance academia are flourishing
outside our shores.
Infrastructure for India's performing arts is dismal. Lack of
trained managers, agents, impressarios, interlocutors,
writers, critics, echnical personnel, a performance network,
ehearsal spaces -the list goes on. Leela Samson has her hands
full.
While cultural appointments are not egarded as prestigious
postings by the Delhi bureaucrats, for a dancer to be in the
driver's eat of such a large cultural institution has equired
patience and resilience.
Leela Samson has faced controversy while ssuming her current
position at Kalakshet a. She will be severely tested again at
the SNA. How will she juggle her appointment book in two
cities? In the field of culture, the wo remaining culture
postings in India are Chairman of the ICCR (Indian Council for
Cultural Relations) which is Karan Singh's portfolio and head
of the IGNCA (Indira Gandhi National Centre for the Arts)
which Kap la Vatsyayan now holds. Then the next step -a Rajya
Sabha seat.
One fact is certain. Leela Samson's new esponsibility will
severely curb her perform ng life. Her recent performance at
Mumbai's NCPA may be one of the last we see of this ntelligent
and dignified dancer. Her two suc essful ensemble productions
Spanda and Charisnu are already inter nationally pplauded and
perhaps her role as dance men or and choreographer may widen.
At an age when many divas stubbornly cling onto cen re stage,
Samson finds herself making a imely and graceful segue into an
eminent position of responsibility, and simultane usly
becoming the single most powerful per on on India's cultural
map.
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