‘No shortcuts to technical perfection’: Mrinalini Sarabhai - Interviewed by S. Janaki
On the contemporaneity and relevance of classical dance
The classical dance forms will remain relevant for all time to come. Their contemporaneity depends upon the imagination and ability of a gifted dancer who interprets themes which have relevance in our world today. For example my work titled Memory deals with dowry deaths. Normally traditional Bharatanatyam does not depict themes of tragedy. The issue of dowry deaths in Gujarat stirred me so deeply that, as dance is my expression, I created Memory, using only the sollukattu expressively, with dance movements and abhinaya. Another example was Shakuntala where I used Kathakali.When rejected by King Dushyanta, Shakuntala challengeshim about the loss of the signet ring. She also turns to theaudience and questions how women could be subject to theindignity of rejection. In this composition I brought theentire cast on stage including Durvasa who moved throughthe characters as destiny moves through our lives.
Can new concepts be introduced into traditional classical dance? What are the guidelines to be followed while doing so?
Yes, but the concepts should be based on appropriateness – ‘auchityam’. New concepts do not necessarily mean day to day issues but can also include abstract thought as I did in the ‘Nasadiya Sutra’, from the Rig Veda. There was no musical accompaniment, only recitation.
Can a classical dance form be treated merely as ‘a dancevocabulary’?
Not necessarily. It depends upon the choreographer and how she uses the form as a means of communication.
What is it that defines the classicism of a classical dance, say, Bharatanatyam?
Classical dance forms have their own vocabulary components, basic stances, and a series of movements that define their salient features. In Bharatanatyam, the basic
stand ‘araimandi’ forms geometrical patterns like circles, horizontal lines, etc. which distinguishes it from other dance forms. Also classical Carnatic music is an important component of classicism in Bharatanatyam. The technique has to be studied thoroughly from guru-s. I may add here that in Tanjavur I used to practice eight hours a day with Meenakshisundaram Pillai.
How faithful should the dancer be to the original traditional compositions of Bharatanatyam? Can we change the set teermanam-s in a traditional varnam (for example, of the Tanjavur Quartet)?
Any serious dancer would remain faithful to the original traditional compositions because they have depth and gravity and the dancer would like to reflect the spirit and show respect for tradition. Personally, I would not change a traditional varnam as they have been formed by great guru-s. In Darpana we published the compositions of the Tanjore Quartette with the help of Sivanandam and K.P. Kittappa to preserve the heritage, as I felt many precious items were being lost.
How much liberty can we take in nritta segments and in presenting sanchari-s/ sangati-s?
It depends on the creativity of the dancer, after masteringbasic techniques.
Is the “body” overtaking the “soul” in Bharatanatyam as it is performed today?
Any serious dancer would see to it that the soul is maintained and the body must not take over presentation. If we notice such trends today, then it becomes mere movement not classical dance. What I always did in my programmes all over the world was to start the programme with classical items, and after the interval,
dance the new compositions that I had choreographed.
On the growing emphasis on glamour, physicality and technical virtuosity which seem to overshadow the spiritual aspects of Bharatanatyam?
These are recent trends but any serious dancer would not like these elements to overshadow the spiritual aspects of Bharatanatyam.
Your advice to the younger generation of dancers?
Be completely dedicated in your chosen dance, and practise hard. There are no shortcuts to technical perfection!
Reproduced from Sruti Archives, October 2007. To buy this issue click here https://tinyurl.com/y99hx92z