‘Bharatanatyam is a hard task master and the daily practice is physically exhausting.’: Geeta Chandran

Congratulations on being felicitated with the Natya Kalasikhamani; how does it feel?

I have conflicting views on awards. While on one hand, it does feed the ego; undoubtedly, one feels cherished and honoured, but on the other, the artiste in me is primed to dissociate from worldliness. So, while balancing these, ambivalence is probably my overriding feeling! Being an artiste is not easy.

How significant is the global recognition of Bharatanatyam?

Bharatanatyam, today, has truly become a global art form. In any country one goes to, one will find the dance being taught, performed, and cherished. It is truly identified as the dance from India: “Bharata”-natyam. That has happened because so many generations of gurus and dancers have put in arduous work and sweat in protecting and popularising the dance.

In a few years, we will be celebrating a century of Bharatanatyam as a performance art, since its first appearance at the Madras Music Academy on March 15, 1931, when the Kalyani Sisters first performed on that stage. In a hundred years, this dance has conquered the entire world!

What is your most cherished memory of being a Bharatanatyam dancer?

My most significant memory is of being taken as a young child of five to my first Guru, Smt Swarna Saraswathi, who hailed from the daasiparampara. She sat like a goddess before me in her silk sari and diamond studded nostrils – truly daunting to a child! My mother made me offer her a tray of betel leaves, bananas, and a coconut. I then did pranaam to her. Little did I know then that with that one gesture, I was giving myself fully to a lifetime of search, passion, and joy in Bharatanatyam.

Geeta Chandran in one of her classes (Source: PR Handout)

Does learning ever end for an artiste?

That is a given in the pedagogy of all our classical arts – one remains a student till the end…and one never stops learning. Even today, I feel that I have merely scratched the surface of Bharatanatyam. New movements, new abhinaya contexts, new interpretations, the search for constant innovation is one journey. But equally valid is the other journey of daily riyaaz and sadhna. Of polishing old numbers and of deeply revisiting what one has already learnt. So, the effort is two-fold: one of losing oneself in the process of plumbing deeper into the tradition, and the other of constantly chipping away at the edges of tradition to see what else can be revealed. I find both journeys equally valid and exciting.

Bharatanatyam is known to be an extremely hard dance form. Do you agree with the same?

Of course, one gets physically exhausted. Bharatanatyam is a hard task master and the daily practice is physically exhausting. As one ages, one works at different approaches to physical fitness. But that is the body instrument, and one has to constantly tune that. But “tired”? Never. Bharatanatyam is so rich that I never get bored or tired with its incredible possibilities and variety. I am constantly enthused by the energy the dance pulsates with it. And if one is coalesced with that energy, one can never be tired.

What is your dream?

In a globalised world, I ferociously seek validity for my classical tradition. I wish to “en-dance” the universe. Book my ticket even to start classes on the moon!

Is there a side to you that is still unknown/hidden from the outside world?

My emotional vulnerability is what is well-hidden by my perceived public persona. But it is that vulnerability that lets me articulate my art. Only my closest family and students are aware of that underside in me. And more recently, my journey into grand-motherhood. Gosh! The unending joys in that relationship is something that I relish most above all else. That new facet of my life is not public.

What does a day in your life look like?

For artists, there can be no typical day. But the ingredients mix of each day remains constant: yoga, riyaaz, teaching, performance, reading and making notes. Plus, family time and social engagements. My daily concentration/prayer time is also very important to me; it’s when I find myself.

Apart from Bharatnaytam, how do you keep yourself fit?

There are two things here; my body is trained to express Bharatanatyam, my spine is glued to that dance form. But for fitness, cross-training is important. I need to be fit to be a good dancer. While I used to go to gym earlier, nowadays yoga is my preferred mode of fitness. But keeping the mind fit is equally important. So, I listen to music, chant and also explore silence. Ultimately, fitness is a state of mind.

Can you also share some nuances of your diet, and your secret(s) to ageing like fine wine?

I am a protein freak and partake carbs judiciously. Papaya, sprouts salad and makhana snacks are my routine. Also, being a south Indian, I can’t stay away from dahi, which I mix with a delightful kaala chaat masala. That is my daily treat. Fortunately, I don’t have a sweet tooth!

Also, I truly believe that one’s face truly reflects one’s inner architecture and feelings. Keeping the mind in balance and not being victim to negative emotions and meaningless competitiveness are key to feeling good and balanced. If my face reflects that, it is because I have made those choices and stuck by them.

Many children start learning dance or music at a young age. Is this the right approach to learing/pursuing an art form?

The traditional structure of learning our classical arts from a guru is a cherished pedagogy. Through shruti (listening) and smriti (remembering), one gains the nuts and bolts of the craft. It is not learning by rote. Also, one learns and progresses at one’s level. These are all processes for customising the learning process. I am delighted that more and more students are learning classical dance and music and are being exposed to this age-old pedagogy that is uniquely Indian. Only good can come out of that! Even if many of them do not become professional or full-time dancers, they will remain rasikas for life and use those learnt aesthetics in whatever field they become professionals in.

Your advice for beginners, and why they must not quit.

Don’t blame the beginners. It is a challenge to teachers of the classical arts to update themselves and make teaching interesting. One has to be aware of the new environment in which the young today are growing up in, and our teaching methods will have to be aligned with their new realities. If the teaching is made interesting, why would learners quit?

If given a chance, who would you like to collaborate with for an onstage performance and why?

When I was young, I had seen a dazzling Kuchipudi performance by Kamadev. I was so infatuated with his dance. I would have loved to dance with him; unfortunately, he is no more. So, that dream of mine will always remain unfulfilled.

Your thoughts for the New Year 2023?

2022 has been a year of healing for the arts that were so incredibly damaged by the pandemic over the preceding two years. I am looking forward to 2023 as a year when creativity returns to theatres full swing – and when audiences return to watch live-performances in stronger numbers.

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