Old dancers never retire, they just rule

The ICCR sends artistes in the 18-45 age-group for stage performances abroad. Those who are 45-plus are considered for lecture-cum-demonstrations, workshops and seminars. Varadan — who was 56 when she went to court — took this as an affront and wished to continue performing. On February 28 this year, the court ruled in favour of ICCR.

Varadan could not be reached, but her lawyer, R K Saini, had a simple argument: ‘‘You can be a good dancer even at the age of 60. She has good credentials, and if she didn’t then why was she put even in the lec-dem section?’’

The case has prompted some introspection among artistes. While everyone agrees that age and appearance do matter, the extent to which they are important is a highly contentious issue. Kelucharan Mohapatra, Birju Maharaj and T Balasaraswati are repeatedly cited as examples of those who have transcended the age barrier.

‘‘At 65, I may have less stamina, but I compensate with other aspects like natya or my expressions which evolve with age,’’ says Chennai-based Bharatnatyam dancer V P Dhananjayan.

Should weight be a factor? Officially, ICCR makes no reference to this, but sources say it has blacklisted dancers — among them a senior Delhi-based Kuchipudi exponent — for this very reason.

Dance critic Shanta Serbjeet Singh won’t directly comment on Varadan’s case, but she is as blunt as it gets when she says, ‘‘You can’t have bulky dancers performing abroad.’’ Singh has often served on ICCR committees which select artistes to be sent abroad on tours.

It’s not a point of view that goes down well in a country where dancers continue to depend on ICCR patronage long after they have established themselves. Says 39-year-old Bharatnatyam dancer Geeta Chandran: ‘‘A classical dancer grows after 40. I know of dancers doing excellent work at 40-50. Besides, the ICCR’s rotation system is all wrong. I waited for 10 years to get my first ICCR tour four years back. In another six years, I will be 45. Are they then saying I should retire?’’

But ICCR does not — and cannot — command any dancer to retire. All it does is desist from sponsoring trips abroad for 45-plus dancers, the suggestion being that after that age, dancers should be able to make it on their own steam.

Asked why an established artiste needs official patronage, Chandran shoots back: ‘‘When I go on an ICCR tour, I am a cultural ambassador of my country and the guest of the country I’m visiting. You never get that kind of respect on a private visit.’’

Despite repeated efforts, ICCR director general Suryakanti Tripathi could not be contacted. Shanta Serbjeet Singh, however, responded: ‘‘There are so many good dancers who haven’t been sent abroad on ICCR tours. There are around 700 artistes on the empanelled list in dance alone. It’s impossible to make sure that every dancer gets to go abroad.’’

Bharatanatyam dancer Alarmel Valli, who is in her mid-40s, believes that weight is an important factor but points out that it is not necessarily related to age. ‘‘I have seen many young dancers who look gross on stage with all that fat,’’ she says.

Valli contends that a person’s talent evolves with age but defends ICCR: ‘‘ICCR is in a difficult situation. If they don’t make such basic rules, then they will be accused of nepotism and favouritism.’’

Odissi dancer Madhumita Raut, 34, daughter and disciple of Mayadhar Raut, is an exception. ‘‘Senior artistes who are close to politicians are given opportunities to perform abroad by ICCR while young talented dancers are left behind,’’ she complains.