Geetha Nruthya -2023
Ananya brings together four established artistes who will share the stage with a live orchestra and present some of their most appreciated work. As they gear up for the performance, Ananya Kalasinchana asked these artistes a question beyond this performance. Each artiste has had a unique trajectory of growth and has accumulated unique perspectives therein. To appreciate the performance may not require one to know their growth trajectories but in understanding their viewpoints there is much to gain.
What is that one aspect of learning and performing a Margam that you find very important for the growth of the dancer/artiste?
Parshwanath Upadhye: Margam is a format which has taken its shape in the 19th century and sustained even today only because of its ability to bring out the best of an artist. Margam also has a great potential in conveying a storyline as well as just meandering through different aspects of Bharathanatyam. For me as an artist, performing a Margam is challenging as well as exciting compared to presenting other works which doesn’t follow a particular format.
How have you evolved over the past decade as an artiste, considering how much the world has changed?
Geeta Sirisha: I really don’t know about the world, but for me it’s been an ocean of change. I was on an unintentional long break then. A decade ago, I decided that I have to come back to dance or I would never be able to get back again. From starting again to where I am today – it has been one gratifying journey. Dance never fails to wow me! This decade has been a journey from the outward to the inward, from the physical to beyond. COVID also provided a great opportunity to work on myself. Apart from online performances, I got to bring out my productions and this experience proved to be a deep learning curve. It has changed the way I approach dance itself. I am thoroughly enjoying the transformation. I am very happy where I am right now in my journey and eagerly looking forward to whatever is in store for the future.
How much of your growth as an artiste has been influences by changing trends in the field of dance and other performing arts?
Aishwarya Nityananda: Over the years, Bharathanatyam has evolved and experienced various changes and trends. Collaborations with artistes from other disciplines such as music, theatre, visual arts and even contemporary dance forms has helped create interdisciplinary productions which offer unique experience for the audiences. I have cherished the experience of being part of such projects. Addressing socially relevant themes, in my choreography has encouraged me to create thought provoking works that resonate with contemporary society, making the dance more accessible to diverse audiences.
I have always believed that blending elements of tradition with modern aesthetics such as innovative lighting, visuals, multi-media elements in my solo thematic productions has definitely enhanced the overall impact of my performance.
Having pursued the arts in many avenues globally, what aspect of that global experience would you want to bring to young learners in Hassan?
Unnath Hassan: Arts may be a performing or non-performing genre, both need extreme discipline and a balanced alignment between body mind and soul. Hassan being a very small town I have been helping them to channel and focus their creative energies. Creating opportunities through connecting younger and upcoming talents with global performers of different genres and resource people through both virtual and non-virtual mediums be it workshops, lecture demonstrations or conversations, allows them to understand the integrity that arts need. Though it’s challenging, it has been worth it for many local talents.
Many are ambitious but still find it hard to take arts as a profession. Through the above Avenues, it may bring forward much more hope and confidence among talents with limited available platforms locally.