Sharon Lowen: Bridging Cultures Through Odissi

Sharon Lowen, an American-born artist with a deep commitment to Indian classical dance, has been a vital force in the world of Odissi since her first training in 1975 under the legendary Guru Kelucharan Mohapatra. Her journey, spanning continents, has enriched classical dance through her innovative performances, teaching, and collaborations across various platforms. In an insightful conversation, she opens up about her inspirations, challenges, and artistic vision, offering a glimpse into the mind of an artist dedicated to her craft.

“I was inspired to pursue a career in classical dance by my gurus, especially in Odissi and Chhau,” Sharon shares. Arriving in India as a Fulbright scholar, she initially intended to further her training in Manipuri. However, her interaction with her gurus ignited a deeper passion. “During the initial Odissi workshop I took for academic knowledge, Guru Kelucharan Mohapatra insisted I make a costume, record music, and perform the three choreographies he had taught me in less than three months. I loved the lyricism of the style, and the endless possibilities to explore abhinaya kept me committed.”

Her journey in Chhau was no less significant. “Guru Krushna Chandra Naik in Mayurbhanj Chhau insisted I perform for the senior gurus in Baripada in 1976 to convince them that a female could perform on par in this martial arts-based male dance genre.”

Sharon’s background in ballet, modern dance, and theatre provided her with the tools to learn Odissi quickly. “My 17 years of training in various dance forms, combined with degrees in Humanities, Fine Arts, and Asian Studies, gave me the foundation to absorb the intricacies of Odissi. Guruji even said I learned faster than anyone he had ever taught,” she reflects. Her disciplined approach, which included taking detailed notations of choreographies and studying the philosophical and cultural contexts of the texts, has helped her maintain the authenticity of the compositions.

“I developed the habit of reading and consulting scholars to delve into the connotations beyond denotation of words, the philosophy and cultural context of the poet or writer, and the fundamentals of the character based on Natya Shastra,” Sharon explains, emphasizing the depth of preparation required to convey the true essence of the dance.

The LalitArpan Festival 2024 holds a special place for Sharon. “Dr. Jyotsna Suri’s vision of promoting the highest quality of arts for all has made this festival, as well as my 10 annual Shivratri Parvati Mangal productions in Khajuraho, possible. The 2024 festival continues to showcase torchbearers of tradition side by side with renowned artists, coupled with thought-provoking presentations.”

Sharon’s work in this festival reflects her desire to connect tradition with contemporary audiences, maintaining the purity of the classical form while exploring new avenues of artistic expression.

In her portrayal of Queen Gandhari, Sharon conveys a poignant message about human nature. “As Queen Gandhari, blindfolded and blind to reality, justifying her curse of Krishna, we are reminded of the truth that ‘An eye for an eye makes the whole world blind,’” she explains. Sharon believes it is often ego that prevents awareness and perpetuates conflicts. Her performances aim to spark reflection, both personal and societal, through the ancient stories she brings to life.

Sharon has received overwhelming appreciation from Western audiences, but the journey hasn’t been without challenges. “In the three years I lived in the USA, it was a challenge to separate Indian dance from belly dance and to be regarded as more than an amateur performer. But through teaching, performances, and school programs, I succeeded.”

When performing for Western audiences, Sharon emphasizes the importance of abhinaya, the expressive aspect of Indian classical dance. “Western audiences especially appreciate the abhinaya if given a brief introduction to follow the meaning,” she notes. She also enjoys teaching Odissi masterclasses to university dance departments, where she can share the rich background of the form in ways that resonate with students familiar with other dance traditions.

“Never underestimate your audiences. You may be surprised at how sophisticated their understanding is in various facets,” she advises, emphasizing the universality of dance and the depth of connection that can be forged when performers trust in their audience’s ability to engage with the art form.

Sharon is eagerly looking forward to a series of exciting performances and projects. “On October 17th, I’ll present ‘Recreating the Past: Ingenuity in Tradition’ for the Sangeet Natak Akademi’s International Festival on Indian Dance. Following that, on October 26th, I’ll participate in the Aalekh Foundation Kerala & North East Festival at Travancore Palace, which will feature a lyrical river flow of five classical dance forms. And in November, I’ll be in Dhaka for a residency at the International School, offering performances and workshops from November 3-9.” As Sharon continues her journey, her performances remain a testament to the profound cultural exchange she has nurtured throughout her career, bridging the East and West through the timeless beauty of Odissi.