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 keen to learn. Thanks to social media especially during this Covid19 pandemic it has been very useful to reach out and spread the art. It’s a small way to engage new audiences to Kathak. To spark an interest and makes them interested to come to a workshop and come to a class. It’s also a good space to learn from other people.” Says Kathak faculty of the Academy and senior dancer of Apsaras Arts Dance Company in this exclusive tete-e-tete with Vidhya Nair.
VN: Tell us about yourself. Your family background & how you came to learn, teach, perform Kathak?
SDR: I was born in Nagpur, Maharashtra. My interest in dance came early. According to my mother I was constantly dancing in front of the television or in my room from a very young age. My mother observed my interest and arranged for me to participate at the local Ganesh festival when I was 7. She saw potential in me and enrolled me for Kathak lessons with a well-known teacher in Nagpur – Guru Dr Sadhana Naphde, who incidentally my mother knew personally from her school days and they had a shared origin as their families originated from Gwalior, Madya Pradesh. My mother was interested in Hindustani classical music and we (including my three elder sisters) were encouraged to learn. From the age of 8, I began my Kathak journey with my Guruji Dr Sadhana Naphde and began to take annual exams as she was associated with Ghandarva Mahavidyalaya till I was 19. I completed both my Vishaarad and Alangkaar while at 12th year in school. Dance was a priority for me.
I performed very actively in Nagpur. At age 14, my Guruji sent me to a national level dance competition in Hyderabad hosted by Samskaar Bharati. My Guru travelled with me and it was my first time performing a solo. I won the 1st prize and that was the first time I began to consider pursuing Kathak seriously as a career. From that point, I had many travelling opportunities at Kathak competitions and performances around India.
The Gharana I belong to is mixed – it’s a combined style: Jaipur-Lucknow. We would learn as a group with a table artiste and my teacher would compose, write songs and I was privileged to witness the collaborative effort of artistes in creating a piece. It was a wonderful learning environment involving a lot of hard work and creative ideas. Learning like this is organic and impromptu – every lesson is new. My classmates and I performed at Ramnavmi, Janmashtami and other festivals. My mother was always there for my performances and often she would invite our housing colony friends to attend as well. By the early 2000s, I had the opportunity to perform on television – Zee Marathi in a popular dance reality show – “Eka Peksha Ek” – where I performed Kathak pieces in various music genres – traditional classical style, Bollywood and Remixed music. It was a good experience to learn how to perform in front of the camera and present diverse styles.
I completed my Masters in Fine Arts at the University of Nagpur at age 22 and by then had moved to Pune after I received the national scholarship in Kathak by the Ministry of Tourism & Culture, Government of India and received intensive advanced training under Guru Smt Shama Bhate. It was quite a busy period shuttling between Nagpur and Pune completed my masters and fulfilling my Kathak training.
I returned to Nagpur after the stint in Pune to teach Kathak to beginners alongside my Guruji. In 2008, I made the move to Mumbai to try to seek new opportunities. My parents were very supportive and by then, one of my sisters was already living in Mumbai. I began teaching Kathak at Nalanda Research Centre alongside another school in Mumbai for 5 years till 2013. It was very different from Nagpur. Mumbai had more diverse students exposed to the glamourous world of Bollywood and there are many established Kathak artistes there. It was not easy to get solo opportunities but I persevered by continuously participating in competitions which called for solo pieces. From the age of 16, I was a regular in Mumbai for Pandit Birju Maharajji’s annual workshops. There I learned in-depth the Lucknow gharana style and I was able to travel to Goa to be part of Maharajji’s ensemble for the International Film Festival (IFFI) where we performed his choreography at the opening ceremony. I was selected by Maharajji and Saswati didi (his disciple) to present a particular piece in a repeat performance in Delhi as part of Vasant Utsav. I have tremendous gratitude to my Guru Sadhanaji for her resourceful and encouragement and performed at the Khajuraho Dance Festival at 16 and even at the National Youth Festival at regional, zonal and national levels. It was here that I met my husband – Kunal Robert who was a participant in the western band category.
VN: When did you come to Singapore and come to be associated with Apsaras Arts?
SDR: After my marriage in 2012, my husband had a work opportunity which required us to move to Singapore and we transferred from Mumbai in 2015. I was certain that I would continue to dance and teach in Singapore and began looking for opportunities here. I first came to Apsaras Arts on the calling of Nayantara Parpia, their then-Kathak teacher who engaged me as their Kathak examiner. When Nayantara returned to India, Apsaras Arts hired me as their replacement and I have been here ever since. During this time, I was fortunate to meet Neila Mami when I joined. She was very sweet and supportive of Kathak. I remember her advising me to prioritise my dance passion even in marriage and after children. She was the kindest lady and one who understood artistes and I consider it a privilege and blessing to have met and interacted with her even though she knew me far less than most of my colleagues in Apsaras Arts. She would love & praise the duets that Mohanapriyan and I would do and she was keen we create more interactive pieces between Bharatanatyam and Kathak.
VN: What are some of your memorable performances in Kathak both in Singapore and overseas?
SDR: My first solo for sure at the competition in Hyderabad. Both my Guru and I worked very hard with live musicians so that will always be a special one for both of us. In Singapore, through Apsaras Arts, I have received many opportunities to perform – one of the memorable ones was “Nupur Lahari” presented under Darshana Series in 2018. Mohanapriyan approached me to perform a solo recital and I wanted to meet Apsaras Arts’s high standards. I worked really hard, used recorded materials to create this work. I received lots of encouragement from Aravinth anna, Priyan and the rest of the team. I got a standing ovation; it was a very emotional moment for me. I’m very grateful for this beautiful opportunity. In the same year, I performed at the SIFAS Festival of Arts and later at the New York Kathak Festival, my first foray to the West and performed as a solo artiste in front of Maharajji and Saswati didi which was a privilege.
VN: What has it been like teaching Kathak – share the challenges and joys?
SDR: Dance is joy. Teaching children has been particularly joyful. I’m really enjoying it. They have a blank slate and absorb easily without inhibitions. Its also a joy to teach passionate adults who are very keen to learn. Some of the challenges are about meeting expectations in Singapore – of parents especially. There is an expectation that after a few months of learning, they expect the student to be on stage. Unrealistic it is. Even the adult students sometimes have this expectation. I’m often puzzled by this as my own Kathak journey has been long. They need to understand the depth of this art and how much time and effort is actually involved well before a stage performance. Explaining this can be challenging. I love teaching so I take this in my stride.
I see interest in Kathak growing in Singapore. Thanks to Bollywood- the glamour of it on screen, iconic Madhuri Dixit is known to many, but for people with no background, it’s important to understand that this is a pure dance that requires commitment and dedication to fully imbibe and learn.
VN: How do you manage your own training and practice?
SDR: For me, dance is the solution to any problem I may face whether emotional or mental. My Riyaaz is very important to me. Regular practice gives me peace, it’s a meditative process. At the end of an hour of practice, I feel productive and positive and a sense of achievement.
Exercise is very important as we age. Doing workouts also releases negative energies and is essential. Diet is also very very important for a dancer. My husband and I are vegan so we have cut down on animal products and slowly it has been a transformative experience both internally and we see it in our appearance too. Stretching I should do more. In some movements it is necessary to have strong limbs. Going to the gym was something I started pre-Covid19. These days, I go for 4.5km runs to build stamina.
VN: Tell us more about the art of Kathak. Do you think that knowledge in Hindustani Music is essential to the practice of Kathak? What is particular about the aesthetic of Kathak? Do you enjoy all the gharanas in Kathak – Can you tell us unique aspects of the styles?
SDR: It is important to listen often to Hindustani classical music, by listening, you can understand and appreciate. I have been trained in Hindustani vocal for 5 years and it has been very useful. When pursuing Kathak professionally, the learning of Hindustani vocal will be important. Including the tabla. The role of the harmonium, tabla, sitar play a key role so the awareness and learning is essential.
The Kathak aesthetic for me – I go by my instinct, I do my research. Before creating a costume or choosing a colour, I always work on my ideas thoroughly. It’s also good to experiment depending on what is being performed. E.g., for a fusion piece, perhaps a pastel shade would be appropriate. I feel it’s very personal. I go with whatever I can carry well. The fitting is important. As a petite person, when I dance, my dance should stand out and the costume should enable this. It should match one’s personality to carry off. I like experimenting.
Kathak has 3 Gharanas – Lucknow: Nazakat is all about the grace in movement and expressions. The upper body, torso movements are very unique, subtle and abhinaya is sophisticated. Maharajji has created these Ginti -thihayis which is something to look forward. You can see expressive thihayis where we show the deer, bird within rhythmic patterns.
The Jaipur Gharana is famed for the emphasis on footwork which is fast paced, chakaars – 3-4 are taken at one go. Swift sharp movements. Bhajans are a highlight. The Benares Gharana style is totally different. The highlights are the chakaars, Akash brahmaris. Vishal Krishnas – sliding, jumps & the way Tabla is used.
You also get to hear different bols from every Gharana. Each one has something unique and special.
VN: What do you consider as important aspects in the learning and teaching of Kathak in developing cultural education?
SDR: Learning an artform whether dance or music is a discipline. It requires commitment, consistency, learn & immersing yourself fully, watching professionals in the field perform, building your appreciation and knowledge. There should be respect and faith in your teacher, patience, working hard on your craft are all life values learned through pursuit of the arts.
Indian classical arts and Indian culture go hand in hand. We express our culture through the performing arts. E.g., For Holi, you learn the story behind Holi. In Kathak, a piece on the story of Holi can be explained via our concepts, choreography, songs and expressions. People unfamiliar with Indian culture get to experience our festivals, our stories this way. Everything is interconnected.
VN: This month, your student Sindhu Achudan makes her debut in her/your first Kathak Manch Pravesh – Can you share details on the process of creating this repertoire with your student?
SDR: We started working on this repertoire 1.5 years ago. Covid caused the debut to be delayed. We started from scratch. There was no original structure but over time, we built on it. I decided to teach her something different, something I hadn’t done before or seen by our audience. I started her training with all the technical part then the Vandana, the first piece. It took a while. Sindhu would come in 1-2 times a week and we would build the repertoire together. It took a whole year because we only get to work on it in person. Sindhu has been very hardworking, practising at home, it shows when you see her perform. A lot of thought has gone into creating this performance. She has learned a new Thumri and Tharana this year and we have live music, one of the interesting parts of the show. We have a wonderful set of musicians who have been coming for practice for the last 2 months.
Sindhu having been a Bharatanatyam dancer for many years. It has helped her catch up and pick up quickly. Normally in 5-6 years its not possible to perform at this level. So, her dance training has helped. There is no reason for someone from outside the native culture to be afraid to learn or face barriers. Art has no limits and no restrictions but once you commit yourself, through this art, Sindhu has been able to learn the language and culture too even if it were unfamiliar to her previously.
VN: Who are your Kathak idols? How do you think this dance form evolved into the modern age?
SDR: First and foremost is Pandjit Birju Maharajji. I’ve always amazed to watch him perform. Today, even when he sits and performs with his eyes, its special. The way he creates and improvises on the spot. Aditi Mangaldas is another. She’s so amazing with her work. Her contemporary and Kathak amalgamation just blows my mind. Her energy, her movement. Even the simplest movements she will do with so much energy and beauty. I have learned so much from her through her workshops. There are of course so many others but I would like to mention Saswati did’s grace and performance. These are true masters.
VN: What do you think has been the Impact of social media on dance?
SDR: 2-3 years I thought differently but today inn this digital age, it is an interesting development. I find myself doing “shows” on Instagram even. Thanks to social media especially during this Covid19 pandemic it has been very useful to reach out and spread the art. I feel having a presence on social media is important but I don’t overthink about what others are doing on it. What is important is to get on the dance floor and practice. It is a platform to express myself and I love to share. Why not? It’s a small way to engage new audiences to Kathak. To spark an interest and makes them interested to come to a workshop and come to a class. It’s also a good space to learn from other people.
VN: In your opinion, how is the practice and teaching of Kathak in Singapore?
SDR: Students should have dedication, practice and commitment to the artform. That I see is lacking. Not across the board but majority lack this. This concerns me. When watching Sindhu perform at her Manch Pravesh, I can imagine queries from parents and students about their Manch Pravesh – how and when? It’s not something that can be achieved instantly. In Singapore, there is an expectation that much can be done easily, quickly but as a trained classical dancer, I do feel a culture shock as to how the expectations to be a full-fledged performer is possible in just 2-3 years? Its unrealistic. This attitude needs to change and the reality needs to be understood. Some balance has to be created between the teacher, parents and students. What is encouraging is there is a lot of enthusiasm for Kathak. To watch and perform Kathak. At Apsaras Arts, we do have great opportunities for students to perform – in annual student showcase, these are opportunities that students should seize and work towards a solo like a Manch Pravesh.
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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
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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
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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
By Vidhya Nair “There are no formulas. When we don’t have time, we need to make time. Prioritise. Rearrange. Dance was something I wanted to do for a long time, then I realised that I need it to remain balanced. It’s an important part of having balance, a means to find happiness.” Read more about ... 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.