Bharatanatyam danseuse Kavitha Ramu tells Divya Kaushik that we need more live performances to make youngsters interested in classical dance forms, watching videos on YouTube doesn’t help
Each time she performs in Delhi, classical aficionados are bowled over by the perfection she displays on stage. Kavitha Ramu, Bharatanatyam danseuse from Chennai has been performing in Delhi on and off, and this time she was here after a gap of almost a year. She performed recently at the India International Center. A traditional Margam was performed with an invocatory number, Hariye Gati, in praise of lord Vishnu, Varnam in praise of the Omkara, a Thirupugazh, a Javali and a Padam. “In Padam human soul is represented by female lover yearning for union with supreme power. Padams are suggestive, they admit dual meaning. They are mostly centered around theme of love. Javalis are songs reflecting casual aspects of love, in light and playful manner. Javalis are set to lighter ragas. It is usually sung in madhyam kalam (medium tempo) or faster. language of sahityam is very simple. It is also suggestive. Then Thillana is also a part of regular Bharatanatyam repertoire. Thillana is sung in the end of performance. It includes Pallavi, Anupallavi and Charanam. It starts from eye movements, followed by several elaborate body movements set to Pallavi,” explained the danseuse who is performing as a soloist from the last 20 years.
She is noted for her unique thematic presentation in her own repertoire. Some of these are: Navarasam — choreographed specially for the VIII world Tamil conference combining verses from Tamil classics, set to music by violin maestro Kunnakudi R Vaidhayanathan. Balaghandham — verses from Kamba Ramayanam — depicting Rama’s childhood and Sita kalyanam. Azhwargal Kanda Ambujappadan is a thematic presentation compiling verses from Naalayira Divya Prepandham and compositions by Ambujam Krishna. “Then there is also Madhurapuri Nilaye, a production in praise of Goddess Meenakshi,” she added and said that it is not important to tamper with the dance form if you are working on various themes. “Exploring themes gives you chance to reach out to a wider audience in a new and revived way,” she said.
The danseuse says that she finds the Delhi audience highly appreciative of classical dances and over the years she has seen the interest rising among youngsters. “The reason I love performing in Delhi is because the audience here is aware and interested. They even understand the technicalities and are very happy to interact. I have always enjoyed performing here,” she said and added that youngsters are more interested now in classical dance forms, which is a very good sign. “I think youngsters are quite inspired to learn classical art forms and the only concern is may be to bring them to watch performances of great gurus and performers. We as youngsters were eager to go, sit and watch a great guru performing with awe. These days the Internet revolution has paved way for YouTube links and DVD’s so much so that the pleasure of watching a live performance is some where lost. We should encourage more live show performances where the youngsters also have a chance to learn more about the dance form by talking to the artistes. They might have their own observations after watching a dance show, a guru can guide them very well,” she added.
Ramu says that if she has to work on collaboration she would love to collaborate with Kathak and Odissi performers. “If it has to be international then I would love collaborating with Flamenco artistes,” she said.