By Deepa Gupta
Her beauty is undying as is her grace, intrepidity and persona. Padmashri Geeta Chandran synonymous with Bharatanatyam, a exemplary dance form that so defines her, is deeply secure in Indian enlightenment and traditions. Essaying a many roles that are partial of a normal opening fabric, Geeta has been collaborating and experimenting with several art forms to come adult with productions that are singular in style, suspicion and visible appeal.
In her fortieth year of veteran dancing, she is all set to author a book on a pedagogy of dance even as a revised book of her initial published work So Many Journeys is on a way. Another plan patrician Swarna (the name of her initial teacher) is on a anvil; one that Geeta reveals is a arrange of biography, a prolongation that uses dance entertainment as a middle of countenance and skilfully puts to use her skills as a lerned Carnatic vocalist.
From her adore for singing, to corporate informative responsibility, a Delhi assembly and her knowledge of operative in a film, she lets difference upsurge as mellifluously as her dance movements.
If not a exemplary dancer what do we see yourself as?
A musician – indeed a Carnatic vocalist.
Music is so unique to dance and from when we were immature we always suspicion that we could never spin a dancer if we didn’t know music. My dance clergyman (SwarnaSaraswathy) could sing for 3 hours and she could play a veena and dance. For us a bar was already lifted unequivocally high. we have had grave training in song for 20 prolonged years and we had unequivocally good teachers and unequivocally mostly a clergyman who taught me song also sang for dance so there was an involuntary bond between a dance and a music.
I see dance as a most incomparable board in terms of theatre, music, rhythm, mythology, literature, poetry, philosophy, spirituality. It has taken many years to uncover any of these aspects.Very often, a bargain of exemplary dance is unequivocally astigmatic in peoples’ minds who see it merely as a concurrent transformation of hands and feet. But we totally disagree. we consider a egghead construct, a cultured construct, a informative erect of dance is so most some-more critical and so most some-more essence enriching than what we usually see on theatre and take back.
Corporate informative responsibility…
I feel unequivocally strongly about it since we speak of corporate amicable shortcoming though never about corporate informative responsibility. Indian enlightenment needs to be nurtured constantly. When a immature lady decides to be a dancer, there is no support for her. Nothing to keep her kitchen fires burning. Corporates contingency come brazen to give such womanlike artists a pursuit like they do in sports so that they have a unchanging income and feel giveaway to pursue a humanities with friendship and focus.
If one wants to come adult with a grand prolongation where does one get a supports from? We can’t spin to a supervision for all since a charge for their informative departments is too outrageous – there are so many art forms that are grieving and unwell – all those are good for support.Somewhere a private zone needs to representation in. And it has to be a postulated effort. It can’t be in pieces and pieces. If there’s a festival that’s been going on for 10 years afterwards someone has to encourage us observant that we will take caring of it for a subsequent 10 years.
Like a Vishnu Digamber festival that’s been on for years. Every year they conflict for funds. If someone took caring of a financials these festivals would do unequivocally well. My possess NatyaVrikshaYoung DancersFestival – we have been doing it for over 10 years. Yet, each year, we have to beg! we have my lane record, and we have a offer for this year, we have my artists in place – since can’t one usually go by a consequence of it?
You also need unequivocally supportive bureaucrats. Earlier we had people who accepted enlightenment themselves. They came from culturally wakeful families. That’s another vast unwell currently that in a categorical a bureaucrats are culturally found wanting!
Does Delhi have a improved audience?
No, we consider Delhi has an overkill. On any given day, there are 8 programmes or more! The assembly gets totally divided. There’s too most function in Delhi. People in other tools of a nation are starved. In Bhopal we usually finished a unequivocally vast prolongation with 5 exemplary dance forms. A 100 feet theatre and 4000 people examination us. It was a grand spectacle. Other cities have usually one theatre so there is most some-more focus, most some-more clarity in what they want. Delhi becomes like a giveaway for all. Everything is around Lodi Estate and Mandi House. You don’t have auditoria in Noida, MayurVihar, or Dwarka. Why not? You have to decentralise culture. Let people and communities have tenure of spaces.
Is a audience-artist bond improved in Delhi than in other cities?
The assembly here is some-more exposed, no doubt. For example, if we perform in Chennai, a assembly has mostly seen Carnatic song and Bharatanatyam. They are not unprotected to other forms of art and other genres like Chhau or Manipuri or contemporary or general art forms. We get to see most more. We are a improved sensitive audience. Delhi is a melting indicate for all art forms. It is unequivocally some-more eclectic.
How was your whole knowledge of operative in a film, Vara?
The Bhutanese film executive Khyentse Norbuwas examination my dance for scarcely a year and a half and perplexing to know Bharatanatyam and a nuances and he was so fascinated by a whole routine – he used to come to a category during Natya Vriksha, lay in a dilemma and observe a singing and dancing – afterwards he wanted to use it in a film and popularise it. When he initial asked me we refused since we am unequivocally gentle on stage. I’d rather be there. Film is not my crater of tea. But he followed me relentlessly to permit to his request. Then a whole year after he again sent me a full script.And in a diseased impulse we capitulated! It was destiny we guess.
As anexperience – we got to know of many other skills – we had never accepted film creation really. But during Vara, we celebrated that routine unequivocally closely. But we felt unequivocally cheated by a film genre – in exemplary dance, we book a possess dusk on theatre – we are extemporaneous – we demonstrate ourselves on a coax of a moment. But in a film somebody else decides your lines, somebody decides how we look, your angles, all – we seem a guaranty in everybody else’s hands. For me, we like to order a stage, be in authority of a whole thing. And afterwards there is a tranquillity of present gratification. You perform and we know either you’ve finished good or not. For me, as an artist on stage, we didn’t find a film plea unequivocally great. Maybe if we do a second film, I’d be some-more cued in.
But we enjoyed a whole thought of staying with a singular character, who was a devadasi dancer. Because my initial clergyman was a devadasi we could vividly suppose her. And operative with a tremendously immature group from New York in terms of camera work, lighting, sound, was unequivocally fascinating. we favourite all that. And we feel happy that we could popularise Bharatanatyam and see it come alive on celluloid.