Dr.Lalitha Srinivasan- An Interview

When Experts Speak... Dr. Lalitha Srinivasan

1.What are your views on the way dance has evolved as a profession? 
Dance as a profession has definitely improved leaps and bounds over the past few decades. From being  a mere hobby or a source of entertainment to it becoming a profession - and dancers being able to sustain as professional dancers is definitely indicative of a healthy growth. Although there are times when I wonder if there are too many people calling themselves dancers these days! But then I figure that in a larger perspective, all this is part of the growth of dance because at the same time there is a lot of great work that is being created.

2. The Dance itself has seen change. The repertoire has changed with time. There are now contemporary themes, differing presentation formats... is it a good change or would you prefer to turn the clock back?

Art is reflective of the times and it is therefore not surprising that the repertoire itself has seen changes- small and big. There was a time when a Padam would be performed for 20 minutes. Each line would be repeated in various sangatis several times over. Today it rarely exceeds 10 minutes. Patience levels have gone down so one cannot expect the audience to be attentive for a 20 minute padam. Edges are pruned and the song is presented in a crisper format. While there is nothing wrong with evolutionary changes like this, the challenge is to retain the essence of the poem and maintain the depth of emotion irrespective of the length of the song!

With regard to themes, formats and choreography; I am amazed at the creativity of today's youngsters. If I were to be their contemporary today, I wonder if I would be able to keep up! On the other hand there are also those who in the name of creative liberty and freedom, do not do justice to the song/poem at hand. What must be understood is that choreography cannot be taught. It is a perspective that develops from not just learning dance but also from being aware of several things around you- from reading, watching, observing and thinking. It is a sensitivity that is imbued as a result of all these influences in your life. So it should not be taken for granted. The choreography of a classic Varnam, for example, was set with a heightened sensitivity towards the lyrics, raga and composer. Learning these as was set can add a lot of value to your learning as a choreographer. 

3. Attitude of young artistes today: what do u feel about it.
Youngsters definitely are working hard to make a mark. We must not forget that the field is not an easy one. There is hardly any money coming in. Performances are few and accompanying artistes are so expensive.
It is with young students that I find the situation a little disappointing. Children today hardly sit on the floor and are wired into their gadgets so much that their bodies are quite inflexible for dance. Indian dance has arisen from our Indian way of life. So with our lifestyle seeing such a huge change, it becomes difficult for children to relate to it. Some don't even know the names of Gods or goddesses and are clueless about mythology.
Given this scenario, as young artistes the onus lies doubly on your shoulders to ensure that it flourishes. It is a hard task that requires artistes to be even more conscious of the responsibility they carry.

4.Blast from the past?
I grew up in the midst of nature. Shivanasamudra, Jog falls, Malnad were where I spent my childhood. Art was also there all the time. From discussions at home (my mother was a singer) to watching music, dance and theatre shows, we had a wholesome childhood. I remember when I was about 8 years old, Gubbi veeranna's Company was performing in our town and my father was in charge of providing permission for electrical connections. I watched their entire show and came home to imitate all that I had seen. I also remember watching performances by Lalitha-Padmini and Ragini. Even the Mysore palace is vivid in my memory- the lights and grandeur during Dussera are fond recollections. I have to be thankful to my parents and my Gurus for all that they gifted me in my formative and impressionable years.

5. Rangapravesha: today it is a showcase of not only talent but has also become a very expensive affair. Your advice on what an ideal rangapravesha shud be like?!

Dinner parties, bulky brochures, photo shoots at exotic locations are all part of this rather unhealthy trend. You can advise parents and students to stay away from it but peer pressure sets in. At a Rangapravesha, should it not suffice to have one photograph printed on a simple invite? Brochures can be made at a later date when the dancer is more proficient and is looking to take it to the next level. To add to this, musicians also are demanding exorbitant amounts for a 90 minute performance. A rangapravesha is an occassion to introduce an artiste to the fraternity. It should not be treated like a certificate for college admissions.

6. what is the one quality that will sustain an artiste.
Hard work. There is no substitute for that. Good looks, connections and family influence can only take you so far. If an artiste must sustain, he/she should be true to the art and oneself.

7. What is the ideal patronage in the encouragement of art and artistes?
Today, corporate sponsors do provide some money to run festivals, but that does not amount to patronage. True patrons of art are probably Sabhas in the most ideal situation. However today, barring a few, the situation is far from ideal. There was a time when merit was the only important thing to obtain a performance opportunity. Today, though there is the confounding problem of people using PROs and influence- in this case, quality becomes secondary. Funds also have been difficult to come by for the Sabhas. Government funds and grants are available but probably artistes are not too aware of it. They must take the effort to find out and avail of it.

8.Your prediction for what bharatanatyam will be like 20years from now?
Bharatanatyam will continue to flourish. It is like a tree with strong roots. Irrespective of the number of branches that may arise in the form of innovation, the trunk will be stable as ever. With more and more people learning the art form, it's popularity will only increase. Quality should definitely be at the top of our minds as we practice the art and teach it to the future generations.