Innovation and adoption of literature are both extremely important for transition to happen in tradition. As an artiste, it keeps me tightly anchored to my art, dancer Rama Vaidyanathan tells Uma Nair
While Rama Vaidyanathan is traditionally an exponent of Bharatnatyam, she has brought verve and vivacity to choreography by using the dance form along with Hindustani and other music genres. A recent winner of Sangeet Natak Akademi, she spoke to Vivacity
Does a National Award reaffirm the importance of recognition and appreciation for an artist to keep doing great work in the performing artsIJ
The award is a kind of validation and you are assured that you are on the right path. There is a lot left on one’s journey that is left to be completed. One is at least sure of going towards the right direction.
Thinking back on your more than 20 years of dancing, who do you express gratitude toIJ
I express gratitude to the three women who have made me — my mother Madhavi Gopalakrishnan, my gurus Yamini Krishnamurty and Saroja Vaidyanathan. I was six years old when my mother took me to my guru. I was 19 when I came to my mother-in-law Saroja Vaidyanathan. As a settler in Delhi, I learnt to structure my dance differently, to reach out to the Tamil as well as non-Tamil speaking audience. As a city, Delhi absorbs you. I began to look at lyrics in Hindi, Braj and Sanskrit. I came up with my own atlas to map my art’s appeal.
How important is abhinaya and footwork in BharatanatyamIJAfter all, one is seeing a lot of adulteration in abhinaya and rhythm of the feet nowadays.
Adulteration happens when the training process is incomplete and there is impatience to be out there. Bharatanatyam is a dance form which requires ten years of training and another ten years of internalising it. As a guru my aim is to add richness to abhinaya. I have tried to bring new compositions into the abhinaya aspect. There are many who do the traditional padams extremely well. But my aim is to bring a fresh approach to abhinaya through execution as well as content. I look for poetry in various languages to explore emotive aspects.
What is the difference between holding a workshop in India and another abroadIJ
I attempt to inspire youngsters and help them to open their own doors and windows of perception and experience to understand the rudiments and the fundamental beauty of the dance more.
What would your advice for youngsters be in today’s world where everyone wants overnight successIJ
Young dancers must develop respect for your dance — so that you consider yourself small and the dance big like the universe.
You have been a strong votary of the Margam (traditional Bharatanatyam repertoire). You have actually liberated yourself by reinventing yourself within the framework. How important is innovation in today’s worldIJ
Margam offers unlimited possibilities for imagination. I have introduced contemporary poetry and themes in the format. I have performed padams based on thumri and abhang. You have to stay inspired all the time. Innovation and adoption of literature are both extremely important for transition to happen in tradition. As an artiste it keeps me tightly anchored to my art. But at the same time I am always searching. Each experience offers so much richness. For instance, while adapting the life and teachings of mystic saint-poets Janabai of Maharashtra and lal Ded of Kashmir to dance, I gained rare insights into a woman’s psyche and spirit.
Innovation is inevitable for the sustainability and evolution of the art form. Unless we push boundaries, it won’t be a living tradition. Hence it is important to incorporate poetry that can connect with the present-day audience. It could be unconventional themes, it could be different languages but it must meet the demands of modern-day audience. After all, they have to carry away a beautiful memory.