“We should know that the audience out there is intelligent and discerning and patrons expect value for their time. To receive a worthy compliment from the audience is GOLD.”
G Selva is a well-known media personality & theatre practitioner in Singapore. From a young age, he has performed as an actor on television and theatre. Today, he is an accomplished director & playwright of his own theatre company, Avant Theatre & Language which will be celebrating its 10th year anniversary in 2021. He is also an alumnus of Apsaras Arts since the 1990s. A tête-à-tête with him this month brought insights to his life’s journey and his varied artistic achievements and ambitions. VN: When did your interest in the arts happen? Was this something you were exposed to in your family in your youth? GS: There was no one involved in the arts in my family. As the only son with 4 sisters, my parents saw me blossom as a television actor from a young age. They were supportive and appreciated my talents and this led to opportunities to perform in theatre and radio. Among friends, we created a small like-minded dance group and decided that we could try something new in performance. We focused on creative movements and called ourselves “Shazeen” and in time, we started to get calls for live performances and programs at the Community Centres. There, I met Deva Charles (featured in November 2020’s Avarthana interview) who was working at Radin Mas community centre under People’s Association and that’s how I came to meet Neila Mami. Dance and performing by then had become my every Tuesday & Thursday lifestyle. I was hooked to the arts and by the late 80s, I knew this was where I wanted to be. VN: You had a long association with Neila Mami. What are your memories of her and do share your experiences with her? GS: I worked with her in People’s Association shows for 10 years. I think she identified my abilities to perform early on. Perhaps it was my “Indian face” so I was cast in many significant roles in many of her productions like “Kurma Avartharam” & “Shiva Kalyanam.” I think she found that I picked up movements and showed interest easily even though it was very tough to transition to performing classical dance. But my greatest admiration for Mami was her ability to teach and her talent in “packaging.” For me, that was the key ingredient to her success. She was always mindful of the audience perspective and she invested in creating choreography that brought out the strength of characters that would have audience appeal. We have to remember that back in the 1980s-90s, embracing multiculturalism while having an international perspective (She engrossed herself in all aspects from costumes to instrumentation of her productions) yet mindfully retaining a Singapore identity in all her creations. I connected completely with her ideology. It was this grooming as a dancer by Mami that brought me to theatre. VN: You are now entrenched in Tamil Theatre for over 20 years now. Tell us how you entered this space. GS: Back in 1988, I was involved in the earliest work by then Ravindran Drama Group (RDG) in a play, “Kudumbatil Allaigal.” I realised that I enjoyed the attention I received on stage. Theatre appeals to me because it brings forward shades of colours, storylines, social themes and this visibility drew me to the craft and best of all, audience interactivity and immediate response. I think I’ve always been an attention seeker but I saw how theatre moulded people and that helped my transition from being an actor to a director. At the same time, I also started to host shows on television. It was a time when I was enjoying the popularity and glamor yet I was seeking to find my correct calling. I found direction when I met my ex-wife who was pursuing her PhD in Malay theatre in Australia. We got married in 2001 and I received an NAC scholarship to pursue my degree in Media Arts & Drama from Deakin University, Melbourne. I was there till 2009, where I also taught in the same Deakin University, a course in Cultural and Global studies which incorporated theatre methodology and techniques. I also launched Avant Theatre, Australia in 2001 where we explored daring themes working with Australian artistes. My pride and joy, two beautiful daughters – Nirtha (Pure Dance gestures) and Shastra (Inscription) were also born during this time. By 2007, I had graduated and grown restless and occasionally return to Singapore on media and theatre invitations. In 2006, I was invited as a judge for a TV show “Dhool” produced by MEGASTAR productions by Mr V Kalaichelvam which is a National level Dance Competition for TV. A major impetus upon my return in 2007 came from Neila Mami, whom I had kept in touch with throughout my years overseas, who called me in to advice and support her magnum opus production, “Sivagami.” She was designing it as a Theatre-Dance production. I was involved in engaging the theatre director initially and finally she handed the portfolio to me to be her theatre director, as by then I knew exactly what was required for the job and this was her Cultural Medallion dream production. “Sivagami” was an opportunity that helped me cement my own calling to consider theatre seriously. It reminded me of a piece of advice that Satyalingam Mama told me on a trip to Macau in the 90s when he said,” You are lucky because you have Mami as your Guru, she has given you a Parampara, an important lineage to follow, for you to be in the arts.” I used to enjoy watching Mami and Mama during their interactions where they could argue intellectually about artistic freedoms and creativity. They always displayed their passion & chemistry and it intrinsically came to be transported to her students, like me. VN: Avant Theatre & Language, Singapore was formed in 2011. Now your company is almost a decade old. Tell us how theatre has developed in these years? GS: Yes, Avant Theatre was started in Melbourne Australia in 2001 and incepted in Singapore as the First Professional Tamil Theatre Company in 2011. Time has certainly flown. At the start, the company was created in a hybrid style where interactive theatre was at play. We wanted to merge the boundaries of audience and actors where shows focused on interplay between actors and audience. I began with “Bhisma – The Grandsire” which was dedicated to Satyalingam Mama for his great teachings to me. Then we did “Romz & Julz” – our version of Romeo & Juliet which focused on Total Theatre concept where theatre techniques, narration and process without indulging into the text of the play. Six LED TV screens were set up where realistic dialogue was created between the characters and audience and each night; the roles would change. Comedy was included to give a complete theatre experience. Another work we did was “12 Angry Men,” a play about the US jury system with live audience selection. This kind of work empowers both actors and the audience and creates multiple roles to interplay and the opportunity to choose outcomes. In the work “Sakuni & Panjali”- theatre magic was used to create the play of the Dice, manipulating the audience minds. The audience experiences control of the dice through technical imagery of interplacement of characters. I’ve always enjoyed working with well-known literary texts. The Mahabharata is my favourite of course. Over the years, I’ve used writers to engage the audience and helped build the eco-system of Tamil theatre actors and writers. Today we have a pool of talents who engage in speech & drama, music & movement and this has propelled our engagement with school students. IN 2014, Avant Theatre hosted a Tamil Theatre Festival, Neila Mami was the Guest of Honour of the Opening Ceremony, she was elated and enthralled by the grandeur and effort that she returned for the next performance with her daughter to honour me with a Ganesha Idol and a golden Shawl and spoke in praise. That moment was unplanned and the WOW feeling in inscribed in my heat so dearly, “Guruvae Sharanam”. VN: What has the role of language been in your work? GS: Tamil is used to deliver for the craft. The purpose of the language is to communicate to engage and reach the audience. That is its primary purpose. It’s important to me that my shows run full house and are financially viable. I’m fully aware about the limitations of Tamil theatre. It is a competitive space and the growth is slow, gradual. Today we see visibility improving but continuing to be visible in mainstream helps to support our image and fuel the growth of theatre. Full-time serious theatre makers are rare as that requires individuals who are passionate for the craft. It is a difficult profession to sustain and today, Tamil theatre stands on its own. VN: Compared to your generation, what do you see as trends in the younger generation? GS: When I watch dancers today, I observe a lack of understanding of the craft. I don’t see “Sthayi bhava” [stable emotional, psychological state]. It’s clear that the dancers don’t stretch themselves to go to that extent in their execution and deep-rooted understanding of the dance piece, let alone the craft. I see much better stamina but the teaching these days is not nuanced so you don’t see the intensity and rigour in the performance. The distraction of the mobile phone is a clear hindrance to many of the youth dancers. Dance requires investment of time along with bonding with peers. It should be a lived process without compromise or short-cuts. We should know that the audience out there is intelligent and discerning and patrons expect to be valued for their time. To receive a worthy compliment from the audience is GOLD. VN: In your opinion, what do you think is the future of Bharatanatyam and Indian classical dance? Do you see any significant trends? GS: Today I see Bharatanatyam’s future in the contemporary state. Neo-Bharatanatyam doesn’t work and the pure traditional form is difficult to sustain because it has been codified. Instead, the contemporary style gives more space for exploration and appears to be a popular choice.Portrait Bharatanatyam artistes, Renjith and Vijna share their experiences of dancing together and working on productions for Apsaras Arts. An Interview… Having watched ensemble work at the Kalakshetra, what is your relationship with ensemble work? For us, it is the coming together of dancing bodies to showcase an idea of the choreographer. It is about ... Read more
Interview Passion, perseverance, gratitude and a sense of continuity mark Kuchipudi dancer-choreographer-teacher-curator, Rajyasri’s career in dance; she traces her journey as a student of dance, her life in Singapore, and how she continues to engage with dance, based now in Bangalore You were in Chennai recently for an Apsara Arts show. How did it feel ... Read more
Interview Moments like these… Acclaimed Bharatanatyam artiste, Parvathi Ravi Ghantasala shares why working with Apsaras Arts and Aravinth Kumarasamy has been a blessing in her life. Please talk to us about your association with Apsaras Arts and Aravinth Kumarasamy? My association with Apsaras Arts and Aravinth began about 20 years ago. I was very busy ... Read more
INTERVIEW V Balakrishnan, Singapore-based dancer, shares his life’s journey with Bharatanatyam in conversation with Vidhya Nair How did you first become acquainted with the world of dance? From a very young age, I accompanied my mother, an avid film-goer to the cinemas. As the only son amongst five daughters, I was her pet. I responded ... Read more
Interview with Thiruchittampalam Ramanan An Interview with Thiruchittampalam Ramanan, considered the Pride of Singapore, a mridangist with over 1500 programmes, in his kitty : By Vidhya Nair Let us start from the very beginning. Tell us about yourself and your family I was born in Malaysia in the 1960s. My father worked for the Malaysian ... Read more
YAVANIKA – INTERVIEW WITH PRIYADARSINI GOVIND By Vidhya Nair VN: What motivated you to create Yavanika? What was your inspiration? Walk us through your process, from how you got the idea to the concept evolving, the director’s vision and what it was like to dance for the camera. PG: I had been wanting to work ... Read more
Interview with Radha Vijayan – Driven by passion and devotion, a celebrated musician reflects on his life’s journey By Vidhya Nair VN: Tell us about your family background – family members & growing up years in India? RV: I was born and raised in Chennai. Around the time of my birth, my father was already ... Read more
About Exposure, Experience and Experimentation: Interview with Monica Sharma Menon and Dayanand Menon By Vidhya Nair VN: Tell us about your background individually and together? MSM: I’m a 3rd Generation Singaporean of Punjabi descent. I have a younger sister who’s married and settled in Sri Lanka and my mother’s extended family still live in Medan, ... Read more
An Interview with Dr Uma Rajan – accomplished dancer and arts administrator By Vidhya Nair VN: How did you come to be introduced to the Satyalingams & what were your first impressions? UR: I met them both soon after they arrived, probably 1974-5 at an Air India party (her husband Rajan was Reservations Manager with ... Read more
Shivangi Dake Robert Interview “Dance is joy,” a tete-e-tete with Shivangi Dake Robert, Kathak faculty and senior dancer By Vidhya Nair “Dance is joy. Teaching children has been particularly joyful. I’m really enjoying it. They have a blank slate and absorb easily without inhibitions. It’s also a joy to teach passionate adults who are very ... Read more
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T Ramanan started learning mridangam at the age of 12 from the late Sri R Thangavelu of Kuala Lumpur. In 1981, he joined the Singapore Indian Fine Arts Society and studied under the loving care of Sri Karaikudi R Krishnamurthy. Ramanan passed his mridangam final examination conducted by the Society in June 1984 with distinction and was awarded a certificate of merit. This was followed by his arrangetram during Sri T V Sankaranarayanan’s concert in July 1984.
Ramanan has been performing regularly since 1981 and has accompanied many accomplished musicians and dancers, both locally and abroad. To date, he has provided mridangam accompaniment for more than 350 Bharatanatyam arangetrams.
Shivangi started her Kathak journey under the tutelage of guru Dr. Sadhana Naphde in Nagpur, India. She reached her first milestone when she was awarded a National Scholarship in the field of Kathak by Ministry of Tourism and Culture, Government of India and received intensive training under the able guidance of Guru Smt. Shama Bhate. Over the years, Shivangi has had the privilege to learn from the legend, Padmavibhushan Pt. Birju Maharaj, in numerous workshops and she has also been a part of Maharajji’s various choreographies for live performances and television. She has successfully completed her Visharad and Alankar in Kathak from Gandharva Mahavidyala and Master of Fine Arts (specialisation in Kathak). She is the recipient of various awards such as,”Nritya Kala Praveena” by Samskar Bharati, Hyderabad, “Nritya Shri” by Kiran Sanstha, Katni, M.P, Winner of National level Inter University Youth Festival of India for 2 consecutive years, “Nritya Kala Nipun” by Nalanda Dance Research Centre, Mumbai, ” Pt.V D Paluskar Award ” winner by Sharada Sangeet Vidyalaya, Mumbai. She has given numerous solo performances in India, Singapore, Malaysia, Reunion Islands, Japan & USA. Shivangi is passionate about imparting her art to young and old alike instilling them a love for beauty, grace and excellence.
Mohanapriyan Thavarajah has been the Resident Choreographer and Principal Dancer with Apsaras Arts since 2012.
Originally from Batticaloa, Srilanka, he has completed his Bachelors & Masters in Fine Arts (2005-2012) at) at Kalai Kaviri College of Fine Arts, affiliate of Bharthidasan University, India under the tutelage of Ogeswari Shanmuganathan (Alumni of Kalakshetra Foundation, and has earned his MPhil (2014-2016) from Tanjavur Tamil University, India. His MPhil dissertation researched Cambodia’s Angkor Wat from a dancer’s perspective. A book on this is currently in the midst of being published. He is currently pursuing his PhD on the study of the influence of the roots of Indian culture and religion in Indonesian & Thai dance forms. Besides being a Bharatanatyam practitioner and researcher, he has also been trained in Kuchipudi under the tutelage of Kishore Mosalikanti. Today, he is being mentored by the renowned Bharatanatyam dancer, Priyadarshini Govind.
Since 2007, Mohanapriyan has received numerous awards and titles such as “Narthana Vithakan” and “Bharatha Kala Mani” for his performance proficiency in Bharatanatyam from various organisations in India, Sri Lanka and Singapore. He has received significant critical acclaim for his imaginative and innovative choreography for both his ensemble and solo work that bring together the traditional vocabulary of the tenants of Bharatanatyam while retaining a vitalized interpretation and relevance to modern audiences. His in-depth research and deep understanding of South East Asian dance traditions has also made him a gifted & comprehensive designer of production costumes, headgear, jewelry and makeup. His deep aesthetic sense and creative knowledge in craft and design has enabled him to create spellbinding visual spectacles for many Apsaras Arts productions. Mohanapriyan has presented many dance research topics at seminars and workshops and is a well-regarded mentor and sought-after teacher for many young & upcoming dancers in France, USA, India and Singapore.
Vijaya Nadesan has been a senior student and performer of Apsaras Art for the past 30 years and now specializes in Arts Education programs for schools. She started her formal Bharatanatyam training in 1987 under the tutelage of the Cultural Medallion Recipient, Mrs. Neila Sathyalingam. During her two decades of dancing, she has performed with People’s Association (1990-2000) and have gained experiences in Multi Ethnic, Folk and Contemporary dance forms. Her Arangetram in 1999 was a culmination of her varied experiences in ensemble work. She has been part of many travelling dance productions overseas – China, Australia, South Africa, Sri Lanka, India representing Singapore’s multi-ethnic dances. Today, she is overall in-charge of overseas productions and overseas project financing, vendor management, logistic and rehearsal scheduling. Over the decades, she has developed coaching and mentoring skills of varied Indian dance forms in schools and has helped schools achieve awards for schools at the Singapore Youth Festival. She has also cultivated a keen interest in teaching the traditional dance form to non-indian dancers in schools. Her teaching method involves interacting closely with students and meticulously creating structured learning techniques for her students which has helped her create innovative choreography.
Seema Hari Kumar began her journey in dance at the age of eight under the tutelage of Mrs Neila Sathyalingam and has been a teaching faculty member for over 17 years. She has performed in over 15 National Day Parades and Chingay Processions under the banner of the People’s Association and has collaborated on various national-level events with the Singapore Multi-Ethnic Dance Ensemble (SMEDE). Besides being on the dance ensemble of all Apsaras Arts’ local productions such as Aarupadai, Aalam, Nirmanika, Heroines of Raja Ravi Varma etc. since 2001, Seema has also taken the global stage with the Company at international arts festivals in Australia, Bali, Cambodia, India, South Africa, Thailand, Liverpool and Vietnam. Apart from performing, Seema has also expanded her portfolio to include choreography and teaching. She has assisted in the choreography and mentoring of schools during the Singapore Youth Festivals in 2004-2006. In 2011, she was also identified as a mentor-choreographer on Vasantham Central’s “Salangai Oli” programme where she mentored and choreographed the items performed by the finalist in the competition. Besides her dance career, Seema majored in Political Science, graduating with a Bachelor of Arts (Honours) from National University of Singapore in 2006 and works in the events management industry.
Shivangi started her Kathak journey under the tutelage of guru Dr. Sadhana Naphde in Nagpur, India. She reached her first milestone when she was awarded a National Scholarship in the field of Kathak by Ministry of Tourism and Culture, Government of India and received intensive training under the able guidance of Guru Smt. Shama Bhate. Over the years, Shivangi has had the privilege to learn from the legend, Padmavibhushan Pt. Birju Maharaj, in numerous workshops and she has also been a part of Maharajji’s various choreographies for live performances and television. She has successfully completed her Visharad and Alankar in Kathak from Gandharva Mahavidyala and Master of Fine Arts (specialisation in Kathak). She is the recipient of various awards such as,”Nritya Kala Praveena” by Samskar Bharati, Hyderabad, “Nritya Shri” by Kiran Sanstha, Katni, M.P, Winner of National level Inter University Youth Festival of India for 2 consecutive years, “Nritya Kala Nipun” by Nalanda Dance Research Centre, Mumbai, ” Pt.V D Paluskar Award ” winner by Sharada Sangeet Vidyalaya, Mumbai. She has given numerous solo performances in India, Singapore, Malaysia, Reunion Islands, Japan & USA. Shivangi is passionate about imparting her art to young and old alike instilling them a love for beauty, grace and excellence.
Soumee De is a dancer, teacher and choreographer who has been training in Indian Classical dance forms- Kathak and Odissi, since the age of four. Soumee is a disciple of Guru Ratikant Mohapatra at Srjan, Bhubaneswar, India and currently an Odissi faculty at Apsaras Arts, Singapore. She is a co-founder of “Ethos -Exploring the Odissi Spirit,” a community of Odissi dancers in Singapore and recently hosted a series of Odissi related educational webcasts “ODE” featuring global scholars, dancers and teachers for holistic learning of dancers. She is the editor of Aavartana monthly newsletter published by Apsaras Arts and actively blogs in social media as a dance reviewer with the vision of growing the growing its appreciation beyond the boundaries of communities, borders, generations. Soumee also offers “Dance-telling” programs at The Artground and volunteers as a “Balvikas” teacher at Temple of Fine Arts for preschool young children. Among the recent performances, she was featured as a solo artiste at the Dance India Asia Pacific showcase by Esplanade Theatres on the Bay; performed in a new collaborative work “Kanna Va” by IndianRaga and Apsaras Arts in September 2020; conducted a workshop on “Ramayana through Odissi and Puppetry” at the Digital Culture festival by Indian Heritage Center; staged her new choreography “Ritu Ranga” at the Artwalk Little India Festival in January 2020-2019; “River Ramble” at the Stamford Arts Center opening by NAC in 2019; “Phenomenal Women” on International Women’s Day at The American Club and performed a full length solo repertoire at “Tribhanga” in the Darshana Intimate Dance Series by Apsaras Arts. She is an Economics graduate, completed an MBA in Human Resources and works as a management consultant to create a “better working world.”
Gayathri Chachithanandar holds a First class – Post graduate Diploma from Kalakshetra Foundation where she graduated as the “Best Overall Student” in both Bharatanatyam and Carnatic Vocal disciplines in 2009. Hailing from Srilanka, she gained her initial training with Smt. Haridevi Jayasundara school of Fine Arts and North Ceylon Oriental Music Society. She also underwent advanced Bharatanatyam training under the tutelage of Sri. Sheejith Krishna, co-founder of Sahrdaya Foundation, Chennai, India.
As an accomplished teacher of 10 years, Gayathri has taught at Sahrdaya Foundation and at Singapore Indian Fine Arts Society (SIFAS). As a performer, she has performed all over the world, both solo and as part of ensemble productions in India, Srilanka, Singapore, Mauritius and Reunion Islands. Apart from Bharatanatyam, Gayathri’s excellent qualifications in Carnatic Vocals, Mridangam and Nattuvangam have made her unique teacher, able to impart not only the knowledge of the divine dance form but also teach the other building components of Dance, such as Music, Culture and Language.
Soumee De is a dancer, teacher and choreographer who has been training in Indian Classical dance forms- Kathak and Odissi, since the age of four. Soumee is a disciple of Guru Ratikant Mohapatra at Srjan, Bhubaneswar, India and currently an Odissi faculty at Apsaras Arts, Singapore. She is a co-founder of “Ethos -Exploring the Odissi Spirit,” a community of Odissi dancers in Singapore and recently hosted a series of Odissi related educational webcasts “ODE” featuring global scholars, dancers and teachers for holistic learning of dancers. She is the editor of Aavartana monthly newsletter published by Apsaras Arts and actively blogs in social media as a dance reviewer with the vision of growing the growing its appreciation beyond the boundaries of communities, borders, generations. Soumee also offers “Dance-telling” programs at The Artground and volunteers as a “Balvikas” teacher at Temple of Fine Arts for preschool young children. Among the recent performances, she was featured as a solo artiste at the Dance India Asia Pacific showcase by Esplanade Theatres on the Bay; performed in a new collaborative work “Kanna Va” by IndianRaga and Apsaras Arts in September 2020; conducted a workshop on “Ramayana through Odissi and Puppetry” at the Digital Culture festival by Indian Heritage Center; staged her new choreography “Ritu Ranga” at the Artwalk Little India Festival in January 2020-2019; “River Ramble” at the Stamford Arts Center opening by NAC in 2019; “Phenomenal Women” on International Women’s Day at The American Club and performed a full length solo repertoire at “Tribhanga” in the Darshana Intimate Dance Series by Apsaras Arts. She is an Economics graduate, completed an MBA in Human Resources and works as a management consultant to create a “better working world.”
Mohanapriyan Thavarajah has been the Resident Choreographer and Principal Dancer with Apsaras Arts since 2012.
Originally from Batticaloa, Srilanka, he has completed his Bachelors & Masters in Fine Arts (2005-2012) at) at Kalai Kaviri College of Fine Arts, affiliate of Bharthidasan University, India under the tutelage of Ogeswari Shanmuganathan (Alumni of Kalakshetra Foundation, and has earned his MPhil (2014-2016) from Tanjavur Tamil University, India. His MPhil dissertation researched Cambodia’s Angkor Wat from a dancer’s perspective. A book on this is currently in the midst of being published. He is currently pursuing his PhD on the study of the influence of the roots of Indian culture and religion in Indonesian & Thai dance forms. Besides being a Bharatanatyam practitioner and researcher, he has also been trained in Kuchipudi under the tutelage of Kishore Mosalikanti. Today, he is being mentored by the renowned Bharatanatyam dancer, Priyadarshini Govind.
Since 2007, Mohanapriyan has received numerous awards and titles such as “Narthana Vithakan” and “Bharatha Kala Mani” for his performance proficiency in Bharatanatyam from various organisations in India, Sri Lanka and Singapore. He has received significant critical acclaim for his imaginative and innovative choreography for both his ensemble and solo work that bring together the traditional vocabulary of the tenants of Bharatanatyam while retaining a vitalized interpretation and relevance to modern audiences. His in-depth research and deep understanding of South East Asian dance traditions has also made him a gifted & comprehensive designer of production costumes, headgear, jewelry and makeup. His deep aesthetic sense and creative knowledge in craft and design has enabled him to create spellbinding visual spectacles for many Apsaras Arts productions. Mohanapriyan has presented many dance research topics at seminars and workshops and is a well-regarded mentor and sought-after teacher for many young & upcoming dancers in France, USA, India and Singapore.
Seema Hari Kumar began her journey in dance at the age of eight under the tutelage of Mrs Neila Sathyalingam and has been a teaching faculty member for over 17 years. She has performed in over 15 National Day Parades and Chingay Processions under the banner of the People’s Association and has collaborated on various national-level events with the Singapore Multi-Ethnic Dance Ensemble (SMEDE). Besides being on the dance ensemble of all Apsaras Arts’ local productions such as Aarupadai, Aalam, Nirmanika, Heroines of Raja Ravi Varma etc. since 2001, Seema has also taken the global stage with the Company at international arts festivals in Australia, Bali, Cambodia, India, South Africa, Thailand, Liverpool and Vietnam. Apart from performing, Seema has also expanded her portfolio to include choreography and teaching. She has assisted in the choreography and mentoring of schools during the Singapore Youth Festivals in 2004-2006. In 2011, she was also identified as a mentor-choreographer on Vasantham Central’s “Salangai Oli” programme where she mentored and choreographed the items performed by the finalist in the competition. Besides her dance career, Seema majored in Political Science, graduating with a Bachelor of Arts (Honours) from National University of Singapore in 2006 and works in the events management industry.
Gayathri Chachithanandar holds a First class – Post graduate Diploma from Kalakshetra Foundation where she graduated as the “Best Overall Student” in both Bharatanatyam and Carnatic Vocal disciplines in 2009. Hailing from Srilanka, she gained her initial training with Smt. Haridevi Jayasundara school of Fine Arts and North Ceylon Oriental Music Society. She also underwent advanced Bharatanatyam training under the tutelage of Sri. Sheejith Krishna, co-founder of Sahrdaya Foundation, Chennai, India.
As an accomplished teacher of 10 years, Gayathri has taught at Sahrdaya Foundation and at Singapore Indian Fine Arts Society (SIFAS). As a performer, she has performed all over the world, both solo and as part of ensemble productions in India, Srilanka, Singapore, Mauritius and Reunion Islands. Apart from Bharatanatyam, Gayathri’s excellent qualifications in Carnatic Vocals, Mridangam and Nattuvangam have made her unique teacher, able to impart not only the knowledge of the divine dance form but also teach the other building components of Dance, such as Music, Culture and Language.
Chitra Pubalan has learnt Bharatanatyam since the age of five. She started her journey at Usharani Subramaniam School of Dance in Singapore and completed her Arangetram in 2002. In 2006, she joined Apsaras Arts under the tutelage of Srimathi Neila Sathyalingam. She has had the privilege of performing in various venues across Singapore, participating in stage productions and been part of international dance tours to India, Australia and London. Besides teaching and performing, Chitra graduated from National Institute of Education (NIE) with a post graduate diploma in education. Today, she combines her dance teaching while being a baking entrepreneur and raising her young daughter.
V Loganayaki Govindarajan has been a student turned performer and teacher in Bharatanatyam under the tutelage of Cultural Medallion Singapore Legend Smt. Neila Sathiyalingam since 1992. She completed her Diploma in Bharatanatyam and Arangetram in 2008, after years of intensive local and international trainings and performances. She had the rare opportunities to learn and perform with distinguished Apsaras senior students/alumni like V. Balakrishnun, Kavitha Krishnan, Vijaya Nadesan, Nagaletchumi Balasubramanian, Selvi Radhakrishnan and the Kesavan Sisters: Jayanthi and Suganthi. Beyond Singapore, she has also worked in productions by Ajith Bhaskar, Geethashankaran Lam, Sri Nimal Raj as well as Neha Mondal Chakrabothy from Malaysia. She has also completed training in vocal music under the tutelage of Eelanallur Sri Sathiyalingam, late Co-Founder of Apsaras Arts Singapore, Sri Sampagodu Vignaraja, Founder of Surya Global Music Academy Bangalore, India and music together with nattuvangam classes under the tutelage of Sri Nimal Raj, Natya Rajyam, Kuala Lumpur, Malaysia. She holds a BA in Psychology and enjoys working with children and grooming them into responsible individuals. She has a love for yoga, communal cooking and advocating green practices.
Vijaya Nadesan – Academy Principal
Vijaya Nadesan has been a senior student and performer of Apsaras Art for the past 30 years and now specializes in Arts Education programs for schools. She started her formal Bharatanatyam training in 1987 under the tutelage of the Cultural Medallion Recipient, Mrs. Neila Sathyalingam. During her two decades of dancing, she has performed with People’s Association (1990-2000) and have gained experiences in Multi Ethnic, Folk and Contemporary dance forms. Her Arangetram in 1999 was a culmination of her varied experiences in ensemble work. She has been part of many travelling dance productions overseas – China, Australia, South Africa, Sri Lanka, India representing Singapore’s multi-ethnic dances. Today, she is overall in-charge of overseas productions and overseas project financing, vendor management, logistic and rehearsal scheduling. Over the decades, she has developed coaching and mentoring skills of varied Indian dance forms in schools and has helped schools achieve awards for schools at the Singapore Youth Festival. She has also cultivated a keen interest in teaching the traditional dance form to non-indian dancers in schools. Her teaching method involves interacting closely with students and meticulously creating structured learning techniques for her students which has helped her create innovative choreography.