As the world settles into a cautious new normal, practitioners of classical dance and music can contribute to replenishing our inner reserves.
By Malavika Sarukkai
India is breathless and in agony as its people struggle to come to terms with the pandemic and its toxic fallout. The images of death and despair that flood the media scream for our attention. In the last few months, the second wave of COVID-19 has broken the spirit of India’s millions as it continues its destructive trail into rural India as well.
At this juncture, our hope is that vaccinations administered across a sizeable population will halt the spread of the virus. The only encouraging sign is that in other parts of the world, the strategy of large vaccination drives is returning the world back to a cautious ‘new normal’.
The last few months of the second COVID-19 wave made us face some harsh truths. It made us see the urgency of valuing human life, acknowledging privilege and admitting to the harsh disparity that separates the haves and the have nots. The pandemic has revealed yet again that a large part of India lives perilously and on the edge.
It is important to come to terms with the gross inequality that marks our reality. Equally, it is important to understand that as a society, what is most needed is empathy together with swift and thoughtful action – both individually and collectively. We must see that humanity connects us all.
Just as the image of thousands of migrant workers fleeing the cities for their villages last year left an indelible imprint on our conscience, imploring us to recalibrate the way we think, relate, act and live, the tragedy of the pandemic claiming so many lives in its second phase has reinforced that we cannot survive in isolation – as a society, those who are privileged must be attuned to the problems of those who are not. Only then will we be able to see the greater ecosystem beyond ourselves, recognise the humanity in all.
To that extent, the pandemic has highlighted the need to change the way we think, by moving away from the easy route of tokenism – sending, or forwarding, outpourings of concern on social media – to the more difficult route of taking the right action at the right time so that people can start rebuilding their lives.
What is clear is that in a post-COVID-19 world, our ravaged world, the word ‘human’ can no longer be used without stirring our conscience. Being human is being aware, sensitive, empathetic, responsible and ethical.
The artistic community, like others, is going through turbulent times and facing an uncertain future. All paradigms of stability and continuity have been virtually dismantled in the time of COVID-19. The complete stalling of live performances has brought with it an uneasy silence and desperation for artistes who are struggling to survive.
It is apparent that we need to renegotiate structures in our personal and professional lives to make sense of a post-COVID-19 world. The challenge to transform demands holistic action from us – as people and as artistes and, in this article, I look at the world of dance in particular.
Practitioners of both classical and folk dance from across the country have been gravely affected by the pandemic. Many have lost their livelihoods, lost family, become orphaned, lost dignity, courage, and the earnings of a lifetime. The pandemic has ruthlessly cut through the socio – economic fabric, unmindful of the privileged and the less fortunate. Several, without even the basic means to healthcare, have lived a nightmare too terrible to even imagine.
The pandemic, which has left a trail of devastation in its wake, has made us see that for our planet and its human inhabitants, the only way out is to move towards the idea of creating an inclusive space— not as mere tokenism but as an honest engagement. A space where we don’t speak from the high ground of judgment and finality but allow plurality, flexibility, empathy and understanding to guide our actions. The kind of space that does not need an external conscience keeper but demands of us that we make ourselves conscientiously accountable. A space that prompts us to course correct and move towards a fair and equitable world.
This forced pause could then be viewed as a window for artistes to review their repertoire, ask themselves why they do what they do, challenge the status quo of the tried and tested comfort zone, reflect seriously on the responsibility of inheriting a tradition and, where necessary, question tradition itself with an informed sense of responsibility, to bring it closer to its essential core by peeling away clichéd decorations.
Authenticity, not tokenism
During the pandemic we have seen the sheer hollowness of tokenism – when the seriousness of the second COVID-19 wave was not acknowledged, prompt action not taken, leaving India unprepared for the magnitude of death and devastation that has ravaged the people.
At the same time, we have also seen that when people step out and act in real time and on the ground, the difference it makes is monumental – as in the case of doctors, healthcare workers, nurses, ambulance drivers, paramedics, NGOs, etc. We owe them and the scientific community a lifetime of gratitude.
Perhaps there is a lesson to be learnt from this – as people and as artistes. For serious artistic enterprise, being authentic is vital. If one is not alert, the repetition that classical dance involves could bring with it a sense of false accomplishment, where habit and muscle memory, rather than a mindful awareness in the body, take over.
This superficial practice gives a sense of achievement but does little to deepen the study of dance in the body. If we wish to move away from tokenism to find the real pulse of dance, we must explore how we can make our dance lived, inhabited.
The question then is – can we distance ourselves from this kind of tokenism as artistes? Granted, tokenism requires little effort and the ‘reward of accomplishment’ it offers, is huge. But there is no doubt that even as it gives an unlimited sense of grandiose fulfilment, what it does is displace the real by usurping its role. It is dangerous precisely for that reason.
So, can we live our lives with more commitment and less casualness? Can we as artistes consciously move towards a deeper understanding of the art form with an honesty in approach and execution? Can the dance speak as dance and be shorn of mannerisms? Can dance not just be about the dancer?
This in turn raises more questions. Can tradition be reclaimed to resonate in the present? What is our intention when we dance? What is our physical and mental posture? Are we proclaiming certain ideologies to further our self-interest? How does the classical language of dance adapt to present times? Does the dance have to convey literal meanings or does it speak through metaphor, poetry and aesthetics? Can classical dance truly ‘transform’ or is it just another token statement?
And what does it mean when we say classical dance and music have the ability to transform? The dramatic consequences of the pandemic have confronted artistes with questions we otherwise might have postponed, caught as we are in the busy momentum of our programmed lives.
The fallout of the pandemic has also put tremendous pressure on the artistic community for survival – in this informal sector many have resorted to online teaching in a big way as this seemed an answer for those who are willing to learn and those needing to earn. Others have used social media smartly to make their work available online and for a price.
Having said that, there are many others who are marginalised with no access to technology. Some have chosen to chisel and upgrade their craft keeping in mind that sometime, in the not-too-distant future, performances will return to performance spaces and live audiences. Others have formed self-help groups to support those in need.
Tradition is multifaceted and pluralistic. Artistes have different approaches to dance, as do novelists. There is a range of writing, from racy best sellers to more serious books. So too in dance – the range is wide.
Dancers approach subjects with varied intentions – from literal exposition and playing up the romantic to simplifying interpretations and myths in search of novelty and popularity; emphasising the physicality of the dancing body, employing metaphors and similes to make imaginative connections; forefronting stereotyped women characters that encourage the male gaze, making dance entertaining; and reflecting philosophy and serious deliberation as elements of dance.
The repertoire that a student, dancer or artiste presents is dependent on various factors – individual temperament, stage in one’s life, lived experiences, influence of gurus, teachers, mentors, home and external environments. What finally determines the trajectory of the dance path is the purpose that each individual attaches to the dance.
Dance draws from life and expresses life in myriad ways. For instance, the distressing, shameful images of bodies floating in the river Ganga, which we as a country recently witnessed, throws up emotions of revulsion, sorrow, helplessness, fear, disgust, shock. If this were to be interpreted through the language of dance, artistes would do it in different ways.
Some might relate to this with a contemporary poem, whilst others might connect this scene of death with lyrics from the Mahabharata (3rd century BCE – 3rd century CE), namely in Gandhari’s lament at Kurukshetra as she describes the battlefield strewn with corpses where women’s shrieks rip the air as they flay their arms like dying cranes, unable to bear the agony of death.
Both images of the present and past are about death. When we look closely at them, we realise what hits us hard are not just the images of death, but the pitch of emotions they churn within us.
The key question is whether the artiste is able to move from the specific telling of a single narrative to the universal truth of intense human emotions irrespective of race, color, religion, geography and time, be it a contemporary poem or ancient text. If the interpretation moves us within the core of our being, it is effective, but if we are left unmoved, the interpretation does not ‘ live in the present’.
Just incorporating a contemporary poem or an ancient one does not make the interpretation live in the medium of dance – it is the intention, imagination and technique together with stylisation that drive the interpretation to contemporary relevance.
Moments of immersive experience connect humanity
Serious committed artistes of classical dance and music, for centuries, have strived to reach the elusive moment of immersive experience – a moment of inner alignment when the ‘me’ is displaced in a moment of ‘ rasa’. To ‘experience rasa’ through the medium of dance and music, the moment must be honestly lived, in all its vulnerability, by both the artiste and the audience.
This moment of ‘rasa ‘, though transitory, transforms the creator and viewer/ listener and has been celebrated by Bhakti poets across the country. If it wasn’t a lived truth, it would not have resonated over centuries throughout India.
‘Serious committed artistes of classical dance and music, for centuries, have strived to reach the elusive moment of immersive experience’. Photo: Venkatesh Krishnan
For this, we as artistes are grateful to Appar, Sundarar, Nammalvar, Andal, Akka Mahadevi, Basaveshwara, Tulsidas, Kabir and a host of other Bhakti poets between the 7th and 16th century CE who responded to the social rigidities of their time so powerfully. It is through their impassioned verses that we get a glimpse into their world of seeking.
The question facing us today is how to rebuild our life in a post-COVID-19 world where our consciousness as a country has been overwhelmed by death, despair and fear. At a fundamental level, society has to urgently heal and restore itself at several levels – physical, emotional and psychological.
As the world settles into a cautious new normal, practitioners of classical dance and music can contribute to replenishing our inner reserves and healing our consciousness to help us find hope in the beauty of the spirit. The experience of serious art, when lived in the moment, is not escapism but a channel to connect with our inner self – a means to help us find our humanness – a quality the world so desperately needs.
Malavika Sarukkai is a Bharatanatyam dancer, choreographer and mentor who continues to investigate tradition with choreographies that extend the boundaries.
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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.