Books Banter
A Book of Productions You see, typically in the context of a dance production, what people see on stage is 60 or 90 minutes of work but it takes months and years to bring works of this scale alive on stage. This apart, the information that we collect during our research leading up to the production is both extensive and in-depth and not all of it makes it to stagecraft. As a result, there is a lot of information in the book that is useful and interesting for people that will not only offer them perspectives on the work but also on the many interesting pieces of facts and trivia that we, as artistic directors, visualisers and choreographers, researchers, discover along the way. The idea for Aham was born when we began thinking of ways in which we could document the work that goes behind each of our productions at Apsaras Arts. Aham also contains research about the poets, lyrics, the literature from which we choose to create our work; aspects and history of the costume and how we design it; a background on the textiles that are used for the costumes; the music, its composition… You get the drift, right? Basically, it is an in-depth documentation of the work-in-process that goes into creating every production. The book also includes people’s reactions and response to each of our works and hence the book also features interesting quotes from reviews in the press, quotes from scholars and other experts in the field who have witnessed our work. By virtue of writing this book, you also had the opportunity to go back in time and re-visit your past works, right? What were your learnings? It is one thing to create ensemble productions and quite another to chronicle their stories; tell us more? When I started re-visiting the works of Apsaras Arts, I decided to stack them chronologically from 2000 to 2023. What I realised as I did that was how our productions have really evolved over time. I can see how we have benefited by introducing dramaturgy in our work; I have learnt to appreciate how collaborations have helped us and how the involvement of a few international artistes who have participated in our work has helped propel the work both in terms of choreography and concept. It was also heart-warming for me to see that some of our works, almost ten of them, have also travelled widely, and those that have, have also evolved along the way. What was the writing process like? I have to confess that I now have a huge sense of respect for people who write books; I rely a lot on books for my research but my respect for writers has increased manifold after I turned author because honestly, it isn’t easy. I think I must give credit to my editor, who was painful but particular about the questions she was constantly asking me because it ensured the book is squeaky clean and relevant to the reader; particularly to a reader who is not from this industry. That was the whole purpose. I was also conscious that the book would not be limited to someone who is trained in Bharatanatyam and who understands all the jargons that we tend to use. I wanted for the book, like our productions, to travel widely. The book is also useful for people in the industry – choreographers, lighting designers, music composers, et al but also I think it would also interest people who study history, monuments, architecture, culture, heritage and anthropology. The core of the productions featured in the book are all rooted in the traditional repertoire and yet in a sense, they have a quality of the contemporary; there are works that have been inspired by architecture, art, sculpture and some that are at the intersection of them all. Please tell us a bit about the diverse nature of the book from a content perspective. The diverse nature of the productions makes the book diverse. The book begins with Alam, a production about a banyan tree which talks about the evolution of Bharatanatyam and the last chapter of the book is Arisi:Rice, our most recent production, and if you look at it, the two works are very far and different from each other. There are productions that are inspired by architecture like Nirmanika and Anyasa. Angkor is not really about architecture but it is the story of how two civilizations, India and Cambodia got together in ancient times and the way this monument came about. Then there is Agathi, which talks about refugees, a very contemporary idea, pertinent to today’s world. Anjaneyam and Arisi talk about the cultural collaboration between India and Southeast Asia. There’s something in every production which is worth showing. All the productions have a quality of scale about them. For example, Anjaneyam and Arisi are mammoth productions; Agathi is based on a universal theme. In the context of writing, how did you distill that scale? Our repertoire productions are small, medium and large in terms of the size of the cast/ artistes, the creative team, etc. The team of Arisi and Anjaneyam is large. Agathi and Nirmanika are medium-sized productions. Then there’s Parama Padam which is minimalist or small. But then, I discovered that the process in which they were made and the research that one needs to do are not very different. Parama Padam, even though minimalist in terms of cast and the creative team, took its own course to find form and shape. In fact, I’d say for works that are smaller in size, the effort is usually larger as we need to distill what we really want to showcase. Then again, when you look at the scale of Arisi: Rice, it brings with it its own complexities. We have so much to say; there are so many dancers on stage and how does one say it all in 90 minutes. But we realised is that we love the art of
Cover Story
Someone famous once said: “You are not alone in this world; you are part of an ensemble”. For decades now, a whole host of Bharatanatyam artistes have poured their creative imagination and energies into creating ensemble work that has not only brought to the fore a slew of artistic ideas and expressions but also in bringing together an array of dancers and collaborators who are invested in a common project, these dancers-choreographers-teachers who envisage an ensemble are perfect examples of the meaning and essence of the word, collaboration. In this edition, we raise a toast to those who have dedicated their dance careers to the creation, production and presentation of ensemble work. We shine the spotlight on four Bharatanatyam exponents from Chennai – Anitha Guha, Jayanthi Subramaniam, Radhika Shurajit and Sheela Unnikrishnan. Read on for a detailed interview where each of these artistes, responds to a common set of four questions ANITHA GUHA “Despite a series of challenges in creating ensemble work, what keeps us going is passion. It is the driving force that enables us to overcome obstacles and create magical productions,” says Chennai-based Bharatanatyam exponent, Anitha Guha A fantastic group presentation always weaves together several key elements: captivating storytelling or a cohesive theme, brilliant choreography, beautiful dance styles, extraordinary coordination and precision, a well-chosen cast of artistes who perfectly fit their roles, enchanting music, enhanced lighting techniques, aesthetic props, vibrant costumes, exquisite jewelry, and stunning make-up… Together, these components create a magical experience. Our storytelling, rooted in the rich tapestry of the Puranas and Ithihasas, reaches out to the younger generation, providing a joyful and educational experience. It also offers them a platform to showcase their talents. The ensemble format I have chosen is the traditional Nritya Natakam, which provides immense scope to learn various stories from our Puranic characters, understand their unique body language, and explore a wide range of emotions. This holistic approach not only preserves our cultural heritage but also ensures its relevance for future generations, creating a bridge between the past and the present through the magic of performance. First and foremost, a thorough study of the literature we plan to present is essential. Sometimes, this involves consulting a well-learned scholar for deeper insights. As I read or hear about the material, I naturally envision the production—it is God’s gift to all choreographers, I believe. Next, I identify the major scenes to be emphasized and approximately plan the duration of each segment. Dancers are selected for various roles based on their talent, commitment, and suitability for the characters. Meanwhile, we choose suitable texts for the lyrics or create new ones, and work with renowned music composers to craft appropriate rhythms and diverse musical interludes. It’s worth noting that sometimes choreography is developed first, with the music composed later to match the dance sequences. Once the baseline is set, I start choreographing with my students. Group sequences are choreographed, taught, and practiced diligently. To be honest, choreography often happens naturally, inspired by excellent music. Simultaneously, each character’s role is individually developed with the dancer. We also design costumes, select good jewellery, plan lighting, and arrange props as needed. After rehearsing for a minimum of two to three months, we are ready to present on stage. Typically, a production takes six to eight months or even a year to complete. However, there have been instances where a smaller production was put together in just 15 to 20 days. The first challenge is, of course, securing the necessary funds. A production requires substantial financial support. Funding can be divided into two categories. The first is the initial production costs, which include remuneration for professional dancers and musicians, costumes, jewellery, audio recording, props (if used), lighting, stage rehearsal charges, make-up, et al. Once the production is ready to be performed at different venues, the expenses, except for the musicians’ remuneration and audio recording, remain the same or can even double, especially for out-of-town performances. Unfortunately, except for a few organizations, most do not provide sufficient compensation, forcing artistes to find sponsors to support their endeavors. Another major challenge is the availability of the same artistes for every program. Consequently, choreographers and teachers must constantly adapt, working with different dancers to bring the production to life. Finally, before a performance, it is crucial for dancers to have a stage rehearsal. Completing the light design within the limited time available also poses a significant challenge. Despite these challenges, what keeps us going is passion. It is the driving force that enables us to overcome obstacles and create magical productions. Parishvanga Pattabhishekam, which we presented in Cleveland, has been my most challenging production to date. It was my first production in the United States of America and involved a collaboration with many dance gurus, their students, music composers, and musicians. I was working with the esteemed music composer, Sangeetha Kalanidhi Sri Neyveli Santhanagopalan. Both he and I had numerous season commitments, and we had to complete this enormous project within just two months. This was quite a challenge. As the production was a collaborative interpretation of the Ramayana, each participant focused on one or two kandams. We had to share time, space, the orchestra, and rehearsal sessions with everyone involved. For many years, I had been working within the comfort zone of my own class, students, and my own time and space. This new venture pushed me far beyond those boundaries, causing considerable worry. However, the program was eventually presented and was received extremely well by the audience. This success was a testament to the hard work and collaboration of all involved.ANITHA GUHA Jayanthi Subramaniam“Ensemble work is like many people performing but with a single mind. This harmony is what creates magic,” says Chennai-based Bharatanatyam exponent, Jayanthi Subramaniam The magic of the ensemble lies in the sheer energy that can be created by the coming together of artistes who are in perfect sync with each other – physically, mentally and emotionally. Ensemble work helps you develop as an artiste and
Point of View
Sukanya Sankar, Trustee, The Sruti Foundation that has, over the last three decades been publishing the Sruti magazine, makes some keen observations on the shifting nature of the arts, how the magazine strives to preserve tradition while support innovation and how in a sense, it is crucial to keep honing your craft and practice resilience for a long-lasting meaningful stint in this world of the arts… As a publisher in the world of Indian classical performing arts, what are some of the shifts you have seen in the industry, especially in the context of dance In an industry that is not too kind in viewing or accepting “changes/shifts” there are a few noticeable shifts, especially post the pandemic. Let’s take for instance, the rise of digital platforms that has allowed dancers to reach wider audiences through online performances, classes, and workshops. This has also witnessed a noticeable increase in performances by younger artistes and audiences. We are also witnessing interesting interdisciplinary collaborations, blending classical dance with other art forms like contemporary dance, theater, and visual arts. Dancers are also increasingly using their arts to engage with social and political issues, reflecting contemporary themes and narratives, including gender, identity, and social justice. Additionally, international collaborations and contributions from the Indian diaspora are fostering cross-cultural exchanges. The emphasis is on inclusivity, revival of forgotten traditions. And finally, Indian classical dance continues to gain international recognition, spreading the reach and appreciation of these art forms. Your publishing company is located in Chennai which is considered the Mecca of South Indian arts; what are some of the trends currently and does Chennai continue to occupy the position it did in the past even in the now? Chennai’s rich tradition of classical arts is nurtured by numerous esteemed institutions, schools, and sabhas. The city also boasts a vibrant ecosystem of performers, scholars, and enthusiasts, making it a pivotal center for the preservation, promotion, and innovation of Indian classical performing arts. Chennai’s traditional arts scene, centered around its renowned sabhas, is witnessing a shift towards hosting performances in non-traditional venues. This trend provides a new and refreshing outlook, encouraging community involvement. However, there is a risk of audience fatigue due to the ‘breeding on familiar ground’ syndrome. Chennai’s evolving arts scene presents both opportunities and challenges, requiring a delicate balance between tradition and innovation to keep audiences engaged and the arts thriving. As one of the few publishing companies that focus exclusively on the arts, do you believe given the pace at which the arts are growing, there is a need for more publications to write and publish about the arts? The growth and dynamic nature of the arts underscore the need for an increased number of dedicated publications focused on arts coverage. Arts publications play a crucial role in reaching diverse audiences, fostering greater awareness and appreciation for the arts across different demographics and regions. Additionally, they offer a multitude of perspectives and insights, enriching the overall discourse surrounding the arts. Emerging artistes, in particular, greatly benefit from these platforms as they provide opportunities to showcase their work and gain recognition. Moreover, by documenting and promoting artistic endeavours, publications help cultivate a sense of community among artistes, audiences, ultimately strengthening the arts ecosystem. The burgeoning arts scene necessitates the presence of more publications to effectively document, promote, and critically engage with the arts. This not only supports the growth and sustainability of the arts but also enhances cultural and intellectual life. The challenge is always finding new writers, new voices and perspectives. Sruti has a quality of legacy; what is the publishing company’s responsibility and how do you manage to ensure quality in a world that is flooded with equal amounts of mediocrity? We work with writers who have a good understanding of the arts. Their expertise provides the magazine with valuable insights and helps us maintain a high standard of content. That said, we also establish and communicate clear editorial guidelines for contributors, outlining the quality and style expectations for submissions. We are transparent about our editorial decisions and processes and this helps build trust with our readers and contributors. We have a rigorous editing process, including multiple rounds of editing and fact-checking. This ensures that the content is accurate, well-written, and insightful. How do you use editorial discretion to ensure that only the best in the field make it to Sruti and to remain aspirational from a form and content perspective? At Sruti, we believe that the concept of ‘best’ is highly subjective. Instead of aiming to ensure only the perceived ‘best’ artistes make it to our magazine, we focus on a different approach. We constantly engage with a wide array of artistes, art organisers/organisations both established and emerging, through various mediums. What we value most is consistency, quality, and innovation in their work. While a viral video or a single impactful initiative can catch our attention, we look beyond the immediate impact to see what the artiste has consistently contributed and how they have evolved over time. Understanding the pulse of our audience is crucial. We strive to feature a diverse range of artistes and content in our magazine. We believe that giving equal importance to artistes at different stages of their careers not only fosters a sense of community but also enriches our own growth and understanding of the art form. Having published content featuring both legendary artistes and rising stars over the decades, what is your advice to today’s aspiring artistes? Spend time honing your craft, dedicating hours to practice to perfecting your skills. And don’t be afraid to seek guidance from those who have walked this path before you. Experienced mentors can offer valuable insights and help you navigate the ups and downs of pursuing a career in the arts. Find your unique voice and style. Authenticity is key in standing out in a competitive field. Audiences are drawn to artistes who are genuine and who bring something fresh and original to the table. Success in the arts