BackGayatri Sriram | In commune with divinity
The Indian classical dancer on why Bharatanatyam should be actively promoted and the interpretation of art
Premium
Singapore: A dancer is essentially a captivating storyteller that bridges the past with the future to deconstruct the fleeting present," says Gayatri Sriram, one of Singapore’s most admired dancers, who also runs an established classical Indian dance school, Shruti Laya, imparting the ancient art form of Bharatanatyam to many young dancers in this modern city-state for over a decade.
This dancer, in her mid-40s, who has performed at many prestigious global stages from Paris to Johannesburg, says, “Through dance, I commune with divinity. It completes me within."
Sriram, who studied under Kalakshetra, is a disciple of Minal Prabhu. Her dance reflects the precision of the Kalakshetra school, yet she brings a fresh perspective to it, which is both traditional and modern in its approach simultaneously.
She is admired by audiences and critics alike for her singularly unique, flawless, and moving interpretations of larger-than-life, central mythological characters, many of whom are distorted, to serve the cause of current political and social discourse.
“When cultures misinterpret their past, their future becomes endangered as we live by something other than truth," Sriram says with great passion.
She cites a simple but critical example.
“When we say Sita was a pativrata whom Indian women should follow as a mute subservient, dutiful wife, this is a complete distortion of her personality. Sita had a strong sense of justice, of right and wrong, and was anything but a mute, subservient wife."
And adds: “In making false assumptions about Sita, as a woman and as a wife, we are misinterpreting the text to gain legitimacy for a cause that we as a society want to perpetuate."
For Sriram, this is sacrilege.
“Rama and Sita were equals in my view, and that is how I perform her," she says. “Sita decided to accompany Rama for the forest despite his and everyone’s wishes. This was a strong act of courage. Also, it was her decision to leave him after fulfilling her familial duties and go back to where she belonged. She lived life on her own terms, within the context of those times."
Sriram strongly believes that “Indian women today need to find new and lively ways of engaging with fundamental texts like Ramayan and Mahabharata.
“We as modern Indian women have to actively reinterpret these epic narratives of our culture—that embody some of the most heroic women—to serve our cause."
Indeed, India’s growing feminist movement in the 21st century is well served by artists like Sriram, who within the confines of traditional dance and storytelling, challenge conventionally held beliefs to lend greater agency and voice to the “modern woman" through drawing on fundamental texts.
“If a woman wants to assert herself today, then India provides one of the largest and richest reservoir of strong female protagonists and role models in our mythology and history to draw inspiration from," says Sriram. “These are shrewd and intelligent women who arose anew out of immense suffering and injustice."
“If they could do it in their time, why can’t we today," she says.
Citing another key example, she points out: “Draupadi was one wife to five husbands and she held these five together, which was no easy task. She arose from the ashes of her humiliation to seek justice, and garnered these men to fight an epic war. This was political acumen and savvy at its best, combined with a strong sense of survival."
The women’s movement, she says, can be better served today by more rigorous understanding of these, and other female protagonists of Indian mythology.
“How they are deconstructed, performed, and understood by audiences is critical for our future. Do we see them as weak or strong; victims or survivors; rulers or subjects."
These answers, she notes, will define to some extent India’s feminist movement in the coming decade.
“We women are all shape shifters like the river Ganga assuming so many different roles, forms continuously, eternally and effortlessly," she says. “And yet, like the river, we are underserved and neglected in important ways."
Adding to this sentiment, she points out: “In 2015, we still believe that Ganga is ma and gives us mukti from the cycle of life and death. When something defines you, you must respect and protect it fiercely."
Indeed, one of her performances, called Dhara, is an introspective look into how we perceive the Ganga in our lives today.
She uses her electric intelligence and eloquence to tell the story of the holy river in all its complexity, physically and metaphorically, and is able to connect with the audiences in a way that is rare for other dancers in her genre.
Sriram’s much awaited next performance at The Esplanade in early February is titled Mukti Marga.
“It is about divine love, where love of Radha and Krishna is both physical and spiritual. It holds both dualities intact, and pays homage to what is natural and subliminal," she says.
Winner of the Rukmini Devi Award, Sriram, hails from a family in Kerala. Both her parents were bankers, and she is married to one, too. She is trained as a dual professional in biotechnology and dance but, eventually, veered towards dance as she says nothing satiates her like this art form.
“To dance is to be yourself. You feel larger, more beautiful, and more powerful within. It is a medium through which I can communicate the ultimate agony and the ecstasy of the human emotion in a fleeting second," says Sriram.
She passionately believes that classical Indian dance forms such as Bharatanatyam should be more actively promoted in India as it can provide “incredible spiritual and physical self confidence" that is much needed today.
“Bharatanatyam can give young women and girls a tremendous voice and vocabulary to carve their rightful space in society. It can also provide them with an access to divinity," she points out with some satisfaction.
Edited excerpts from an interview:
How do you think a dance like Bharatanatyam can help a young Indian woman come into her own in the modern world?
The emotional and intellectual quotient, not to mention physical and mental stamina, goes up significantly for any committed dancer.
Her senses get more attuned to nature as it heightens perception to see and experience the world in a unique way.
It taps into your innermost confidence and creative expression and provides you with a bliss that cannot be found by simply studying or working.
What role has Singapore played in your journey as a dancer?
I think there is no culture more enabling and nurturing for an artist like the Singaporean culture. The National Arts Council is ever willing to support you in every way. They have guided me for over a decade to tap into all kinds of local and global opportunities. They showcase and celebrate artists like me and others that is affirming. Above all, this is a meritorious culture. If you have talent, you will make it here.
What is your teaching philosophy with regards to your students?
Dance is a tremendous disciple and I demand nothing less than perfection from my students.
I tell my students that if you pursue this divine art form as a hobby, then you will never achieve anything. But if you give it equal value as your conventional education, you will see yourself blossom and grow in ways that will make you stand apart from the herd.
Unlock a world of Benefits! From insightful newsletters to real-time stock tracking, breaking news and a personalized newsfeed – it's all here, just a click away! Login Now!
