Rajeswari Sainath, a name to be reckon with in India's classical dance circuit. She is known for her innovative approach and experiment with the grammar and mathematics of the 'layas' in classical dance that resulted in rare thematic presentations
WHEN THERE is a mention of Bharathanatyam, Rajeswari Sainath is a name to reckon with in India’s classical dance circuit. Performing for more than three decades in three different roles vis-à-vis a dancer, a choreographer and a teacher, Rajeswari is known for her innovative approach and experiment with the grammar and mathematics of the ‘layas’ in classical dance that resulted in rare thematic presentations never attempted before at world canvas.
Acknowledged for her strict adherence to tradition while adapting to the changing contemporary scenario, she is at once traditional in thought and modern in outlook. Her greatest might is her versatility in handling both strictly traditional as well as modern presentation with equivalent vigour. Her saintly attachment and fervour for dance has resulted in many ballet productions such as Gita Upadesham, Bhajare Gopalam, Shakuntala Prema Kavya, Soundarya Lahiri, etc.
Enthralled audiences the world over, including America, United Kingdom, Canada, Australia, Germany, etc she is a recipient of many prestigious awards, including Nrithya Choodamani and Rajiv Pratibha Puraskar Award.
Currently being the director of Sruthilaya Kendra Natarajalaya (SLKN) with its centers in different domestic metropolis as well as in Australia and London, she is on a voyage to explore India’s ancient artistic heritage across the globe. She speaks about concerned issues in a tête-à-tête
Excerpts: Q: Being an exponent, throw some light at the grammar and mathematics involved in Bharathanatyam? Rajeswari Sainath: Bharathanatyam is highly grammatical and mathematical in its compositions and I am specialised in mathematics for dance since I have taken advanced training under the guidance of the legendary percussionist, Karaikudi Mani who also happens to be my relative. The mathematical grammar in dance is actually like a sequence. It can be brought down, can be quoted as a sequence, mathematical progression, permutation and combination etc. Mathematics in movements gives the visual beauty and highly calculated mathematics is compared to a beautiful building of high architectural value. If the progression is sequential, there is an inherent beauty in the building. It attracts everybody. But if there is no sequence, the beauty cannot be enjoyed. The visual beauty can be enjoyed only if there is a strong grammar in it. Similarly, it is compared to dance. Mathematics should be sequential and not erratic. One need not know the deep roots of it to understand and identify what it is all about. If there is strong grammar and harmony, it automatically enhances the beauty of dance. For example: at a very basic level, two beats consisting of 12 inner beats ( six beats each) can be split as 2-10 (12), 3-9 (12), 5-7 (12), 4-8 (12). This kind of permutation and combination can be used beautifully in dance. Q: What are the differences you observed year after year among the people inclined towards Indian arts, Bharathanatyam in particular? RS: The value and the importance in learning Bharathanatyam have been increasing. There are many learners, many takers and many performers coming up. The quality and quantity is growing. It has become very competitive. Foreigners are also taking up this art form .The next generation is really enjoying learning it. Artistes are growing, the richness and greatness of this art is also growing. Q: The rate at which today’s youngsters is getting driven by western dance and music, do you see a long life of our very indigenous dance forms? RS: Though a certain section of youngsters are getting driven by the western dance, I would say it is only temporary. I would compare this to ‘Brahman’ and ‘Maya’. Brahman always remains whereas Maya is an illusion. The importance of Brahman can never be disturbed. Similarly, the liking for this art can never be disturbed at any point of time. In fact, every dance form has its own identity. Q: What should be done, in your opinion, to upscale its influence? RS: Bharathanatyam is one of the ancient art forms in classical dances. Keeping up the tradition, I think we should come up with new innovative productions that are also liked by the present generation. The classical and traditional value of dance should be seen through this innovative presentation. This combination would influence younger generation to take it up with great passion. Q: Being the director of ‘Sruthilaya Kendra’ how do you take this institution? Is it merely a classical dance school or with a mission and vision? RS: Sruthilaya is founded by Guru Karaikudi Mani, which has centers in India and abroad. It is a school that teaches classical dance and percussion. As a director, our vision and mission is to give the concept of hard work, patience, sadhana, quality and learn this art with great dignity and value so that it becomes an integral part in ones life. Q: Do you feel governmental support can bring a change in revitalising and restoring Indian classical heritage?
RS: The government support is definitely required. I feel the responsibility lies with the government to restore the beauty of Indian classical heritage, as we all know that India is the greatest country for fine arts. Government should be vigilant enough in watching the quality and tradition in dance. Not necessarily that popularity matters always, the quality and tradition in the dance has to be given importance. Q: Any highlighting salient feature for global promotion?
RS: The best feature in Bharathanatyam is the strong grammar, aesthetic beauty, philosophy and spiritualism. The strong concept of ‘nritta’ is seen through mathematics and ‘abhinaya’ can be felt through the sensitive emotions presented. Bharathanatyam gives the space in terms of rigidity and flexibility. It is attracted for its strong discipline.
