Portrait
Bharatanatyam exponent, research scholar, writer, teacher and founder of the Bharatamuni Ilango Foundation for Asian Culture (BIFAC), goes back in time and recalls some precious moments that reinforce her long-standing relationship and friendship with Apsaras Arts, its founders and current Artistic Director, Aravinth Kumarasamy Can you go back a little in time and tell us about your association with Neila (Sathyalingam) Maami and Sathyalingam Maama. Actually, to start from the very beginning, my father knew Sathyalingam’s father. He was a big shot in Sri Lanka, a Minister of sorts. Thinking of it, our friendship began when Neila and Sathy (as we called him) were students at the Kalakshetra; my father had presided over their performance. I was a very young girl then but I distinctly remember Neila’s costume – a saree with a neatly pleated fan that was drawn towards the back. It really appealed to me. I was charmed both by Neila’s dance and her dress. Our family knew Sathyalingam’s family also very well. I had performed in Singapore for the Indian Fine Arts but when Neila was representing the Singapore Arts Festival, she invited me to choreograph the Valli Kalyanam piece for her; it was exciting because all the dancers and the entire orchestra had to comprise of artistes from Singapore. I was the only one from India and I had been entrusted with the responsibility of choreographing it as well as composing music for it. I was excited no doubt but I insisted that it would be great to also include Chinese dancers alongside Indian dancers and really make it a celebration of the dance fraternity of Singapore. I remember Neila being quite thrilled by this idea. Until then, the artistes of Singapore had never collaborated or performed together. I was proud to have made it happen with Neila’s support. We had a thirteen-member orchestra that also included Chinese musicians; Sathy was on the nattuvangam; Karaikudi Krishnamurthy was on the mridangam and Aravinth (Kumarasamy) played the veena. That’s when I first met Aravinth in the late 70s. I remember spending 20 days in Singapore leading up to the production and despite the initial hiccups, it all came together very well. That’s how it all began… Honestly, that’s the thing about Neila! She was, right from the start, very open-minded and creative; she always kept her eyes open to everything that happened around the world. In that sense, Neila and Sathy were a couple who were made for each other. That’s a great story; tell us more… My connection with Apsaras Arts kept growing, year on year. A few years later, a student of mine moved to Singapore and learnt dance further at Apsaras. Anytime someone from Singapore came to Chennai, they’d come over to study dance with me. In the 80s, I went to Singapore for yet another performance. The theme, this time, was around the idea of Seasons. I didn’t have much time to spend in Singapore but I worked closely with the musicians there including the Chinese and the Indonesians; I composed the music and did a rough recording for them. Thereafter, I allocated the parts to be choreographed by Apsaras Arts and other dance schools and provided them with an overall framework. What was interesting about this production was that I composed a special Thillana for this work; a raga-thalamalika wherein I took inspiration from the Asian pentatonic scale, which has only five notes. Having studied Ethnomusicology in my Masters, I used the concept of the Graha Bedham and composed a Thillana that featured five different ragams in five different srutis. I have to tell you that Apsaras Arts are still performing this Thillana, so many years later… After we premiered Valli Kalyanam, I remember Aravinth joined Apsaras Arts and went on to become the adopted son of Neila and Sathy and he continues to carry forward their legacy. In fact, through my institution, BIFAC, we conferred Neila an award titled ‘Bharatha Putri’, which has, so far, been given only to three people, the others being Professor KD Tripathi and Chemancheri Kunhiraman Nair. I think it was also the last time Neila came to India…. Over the years, you have been associated with the DIAP and IPAC; do tell us a little bit about being a mentor for IPAC? Every year artistes like Priyadarsini Govind and Rama Vaidyanathan have been conducting workshops as part of IPAC (Indian Performing Arts Convention) along with artistes from other dance forms too. The thing is, Aravinth is a very broad-minded artiste and he is also very respected in the Singapore Arts Council, because of his straightforwardness and professionalism. I do believe that Apsaras Arts has grown significantly under his mentorship. Aravinth often says that he is deeply influenced by my work. When I went to Singapore for Valli Kalyanam, I kept telling Neila that Singapore, as a country, is really at the centre of Asia and has the possibility of bringing artistes from across Asia together and become a hub for Asian culture. I think Aravinth is seeing through this idea through the many initiatives, events and productions that come from the house of Apsaras Arts. In fact, the first time Aravinth explored Cambodia was with me and my family. This was way before he went on to create the production inspired by Angkor Wat. In 2009. Aravinth wanted to travel with me to explore the sculptures of the temples in Cambodia. I was presenting a lecture at the Royal University of Phnom Penh and had interacted with the local artistes there. I demonstrated to them how the Natya Shastra has links with what we are all doing with our dance. Aravinth was there watching and taking notes all the time. On the same trip,I also had the honour of meeting the Princess Buppha Devi, whose mother, the Queen Mother, actually gave the name, Apsara to the dance of Cambodia. I interacted with them and could see how Bharata was still alive. For instance, Bharata’s mask continues
In Sights
Looking back at IPAC 2024 Australia and why this edition was so special In its fourth year, Indian Performing Arts Convention (IPAC) Australia 2024 extended across nine days from May 18 until May 26, 2024. The Convention included Masterclasses by some of India’s most accomplished performers and gurus as well as lecture- demonstrations that offered insights into the beauty and complexities of Indian classical music and dance, and – of course – performances by local and international stars. The Convention was curated by Aravinth Kumarasamy, Artistic Director of Apsaras Dance Company, Singapore. The Convention also featured a Bharatanatyam showcase by Advanced and Intermediate Masterclass participants including the premiere of a new work, and a Carnatic music showcase performance by the participants of the Masterclass that included premieres of two works IPAC World Premieres One of the most exciting features of this year’s IPAC Australia was the inclusion of four world premiere performances. Three of these were the fruits of the 2023 Creative Development Residency program which offered emerging Australian practitioners the chance to work with legendary Indian mentors – PriyadarsiniGovind in Bharatanatyam, and R K Shriramkumar in Carnatic music. The first premier was – Masterpieces of Dikshitar by Akshayan Manivannan. This version of Shri Nilotpala Nayikehighlighted Dikshitar’s serene handling of the Reethigowlairagam, intact with its authentic suddha dhaivatham prayogamsand chittaiswarm passage. This was followed by a magnum opus composition – Shri Valmika Lingam, which showcased a unique, grand vision of Kamboji ragam, where Dikshitar masterfully intertwines layam and sahitya within the rarely heard kanda jathiata talam. Talam was by Krishna Ramarathinam and Mridangamwas by Sai-Nivaeithan The second premiere was – Sapta Taala Sapta Maala by Krishna Ramarathinam. The concert featured three unique pieces. The first piece was an original composition of Krishna, a Tamil Varnam composed on Lord Hanuman in Ragam Poorvikalyani. The second piece was also an original composition in Sanskrit. It was a Raagamaalika and Taalamaalika piece dedicated to the significance of Sapta (7) in Hindu Dharma. Each line explored a spiritual concept within Hindu Dharma embellished by an appropriate raaga and taala. The concluding piece was a composition by Vidushi Padma Veeraraghavan in the raga Navaneetham. The third premiere was a new work The Pursuit of Happiness created and choreographed by emerging Melbourne-based star, Rukshikaa Elankumaran under the guidance and mentorship of Priyadarsini Govind. This exciting new work involving seven dancers was developed as part of last year’s IPAC during an intense one-week in-person conception phase with Priyadarsini, and further refined with online and in-person workshopping leading up to the premiere. The Hedonic Treadmill is a psychological metaphor explaining the human tendency to pursue one pleasurable experience after another, without an increase in baseline happiness. This Bharatanatyam ensemble work explored the Vedantic philosophy behind happiness, by following the story of a young girl who manages to escape this metaphysical trap and find eternal bliss through dance, spirituality and self-realisation. The dancers included Aba Rosewinny, Alicia Roy, Aparna Shastry, Arpitha Shastry, Keerthi Jaishankar, SharanaaJeyaroopan and Rukshikaa Elankumaran. The music was directed by Beven Elankumaran and the vocals were by Ahilan Sivanandan, Shradha Ganesh, Rukshikaa Elankumaran, Beven Elankumaran. The accompaniments wereBhavani Prasad and B Muthukumar while percussion was by Satheepan Elankumaran. The fourth premiere, Three Bright Stars, was the result of an unique collaboration between three of India’s most creative and adventurous artists; singer Dr S Sowmya, violin virtuoso Lalgudi Vijayalakshmi, and Bharatanatyam artiste, Rama Vaidyanathan. Stemming from an idea by Aravinth Kumarasamy, these three ‘stars’ developed an extraordinary 90-minute work that melded new compositions by the musicians with inventive and dazzling choreography from Rama. With a significant level of improvisation, the audience was gripped by the palpable communication between the artistes. With support from local Australian legend, Ravi Ravichandhira on mridangam, and Mohanapriyan Thavarajah from Apsaras Dance Company, Singapore on the Nattuvangam, the performance exuded a palpable sense of joy and adventurousness. There is considerable interest in remounting this performance in India and Singapore.
Travel Diaries
Work-in-Process
Bharatanatyam artistes, Rama Vaidyanathan and Dr Apoorva Jayaraman, who were amongst the chosen artistes who showcased their thematic new work under the umbrella of the theme, Ritu, curated by the Natyarangam festival at the Narada Gana Sabha in Chennai in August, decode their specific work and their take on its thought and treatment, in dance A Summer Surrender Dr Apoorva Jayaraman allows us insights into her treatment of Grishma When you received the theme Grishma from the Natyarangam Commitee, what was your initial response? I am born and raised in Bangalore, a city known for its great weather. Therefore, the one thing about living in Chennai that always irked me was the summer heat. It was the one thing I never managed to get used to, and I definitely did not enjoy. So, when I got to know that Grishma is the theme that Natyarangam was inviting me to work on, I thought to myself – “oh my gosh! “Irritation” is going to be my eternal sthayi bhava!!” For the first few days, the mind was a blank page. But midway in the process, I began to appreciate being commissioned to work on a theme that I wouldn’t have naturally gravitated towards, as without an “obvious” starting point. I had to go on a journey to find what it meant to me, and what I wanted to say. Personally, what is your take or relationship with summer? How much of the personal do you bring to your work, in general? Fatigued. Irritable. Underproductive. These are the first few words that I would use to describe myself in the Indian summer. But when I thought beyond this tip-of-the-tongue response, I remembered the sweet feeling of taking a shower after a tough three-hour rehearsal or class in the sweltering heat, and lying on my bed, feeling the warmth spread through my exhausted muscles. A drenched dance saree, sweat splashing from my braid… this, I realised, is the real deal, the real visual I have of the Chennai summers. One is dead by the end of a practice, but you never wish you didn’t have to do it. Spring is a time of hope and dreams. The monsoons, almost a celebration. But summer is a time of toil, a conscious journey through harsh and unfriendly times to go nearer one’s goal.I began to see summer as a time where the human spirit demonstrates an extraordinary ability for perseverance, for survival and an inexplicable thirst to soar. This personal identification is definitely where I’m drawing from and what helps me want to tell a story, or even have a story to tell. The one liner for me is “Summer – the fire in my soul”. An artist’s job is to extrapolate the specific to the generic, in a manner that it finds resonance with a large number of people, without either losing (or over indulging in) its idiosyncrasies and frailties. So to answer your question, yes, the seed is personal. The impulse for the story is personal. But the stories themselves are not necessarily so. Your concept note is an interesting exploration of a whole host of ideas that are connected with the notion of summer – romance, abundance, hope, fearlessness but also there is hardship and self-preservation; typically, what is your process of creating new work? Sometimes, the starting point of a work may simply be to explore something from an anthology of interest. I then read/explore/have conversations around the subject which slowly helps me understand the approach I want to take with the piece. Writing is the most important tool that helps me begin to articulate my ‘whys’ and to start to see a thread in my choices. Even though a first script may look either just like bare bones, or sometimes have too much clutter, the process of putting pen to paper strangely gives me the confidence to find my way. My biggest problem is knowing when to stop! In this regard, conversations with my teacher have always been my grounding factor – when I simply don’t know when to stop tweaking and fixing; or when I don’t know when to cross the threshold from research to visual stage, she has been my guide and compass. What is the kind of research that went into creating this particular work? In this particular instance, it started with reading a lot of literature to find references to summer. I read everything that came my way, shortlisting interesting portions from Kalidasa’s Rutusamharam, Kalithogai of Sangam Literature, Kavi Keshavdas’ Rasikapriya. For this particular project, Natyarangam greatly aided our process with strong starting points – talks and sharings from scholars like Dr Sudha Seshayyan. I came across a mention of some interesting songs on summer in an interview with artist Shubha Mudgal. Another of our resource persons Monali Bala helped me source and understand some of those which sounded intriguing. I had several rounds of conversations Dr Raghuraman, who each time draws me a further mile into the immensely fascinating nooks and corners of the world of Tamil literature, this time throwing at the me the exuberant verses of Kalingattuparani which embodies such potent imagination; and S Jayachandran, who always unsettles the equilibrium (in the best way) and impelled me to go beyond the “narratives” and find my eka-vakyata. In the world we live in, we don’t have the luxury of just shutting ourselves and focussing just on the work, right? How do you manage switching in and out of this process of being preoccupied with a work and also managing the everyday and the mundane? I visualise/dance in my head all the time. A lot of the creation of this work, in the sense of visualisation, has been happening outside the studio – in transit in an airport, in an auto getting from class to home, lying on bed waiting for sleep to hit etc. This time around I’ve also been doing some of the work on my students. This has been a fairly
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