On the right path to progress

In a tête-à-tête, Bharatanatyam dancer Vamsi Madhavi reveals about the difficult aspects of being a dancer and her insights into the classical dance forms

Vamsi Madhavi presented a Bharatanatyam dance recital recently at Keyes High School, garnering appreciation from the select audience. Having pursued both Bharatanatyam and Kuchipudi dance forms for over 18 years, Madhavi has been both performing and teaching Bharatanatyam in Hyderabad.

With a firm grip on the Kalakshetra style, Madhavi commenced her performance at the recent recital with a “Thevaram”, followed by a Jathiswaram. As is the norm, the main piece was a varnam in Sankarabharanam “Sakhiye indha jalam yenadi”. But what appealed to many in the audience, was the Javali “Mutta vadduraa” –Khanditha Nayika’s ire at her lover’s flirtations with other women. In the padam - “Daari jhoochu chunnadi”, Madhavi showed controlled abhinaya that suited the mood.

A responsive artist, Madhavi shared her views on classical dance and her experiences in the field.

Excerpts:

Having learnt both the dance forms, what made you choose Bharatanatyam over Kuchipudi?

It is a difficult question and it can't be one form over the other for any artist. Both Bharatanatyam and Kuchipudi are close to my heart, I believe that "it takes a life time for an artist to do justice to a form and truly progress as an artist in that form", so excelling in that one form itself will be an achievement. Kalakshetra had provided a discipline, rigour and a path (right technique to practice) to progress in Bharatanatyam. The repertoire and the access to resources (like critics, teachers and material), combined with the consistency in style helped me to pursue Bharatanatyam sincerely. It could also be because the ability to appreciate and imbibe the art form.

Have you added anything to the already choreographed pieces like “Daari jhoochu chunnadi”?

Every art is a journey of constant learning. I believe, with every learning experience, understanding and progress in life changes the perspectives on a subject and one can unfold the layers in a particular item (padam/ javali), or even in a specific adavu. The way I showcased Daari Joochu Chunnadi (this time) is much nuanced from all my previous presentations. I have improvised on many of the abhinaya parts.

What is tough for a dancer – finding the right guru or getting trained or establishing oneself as a good dancer?

Getting the right guru and getting established as a good dancer are equally tough... since training is completely the choice of the dancer. Learning from a well-established guru is a lifetime support system, giving better chance for the artist. The training from an institute will be very focused and disciplined, but there is a sense of "fish out of water” once you come out of the institute. So the immediate period after leaving the institute becomes very crucial and yet times difficult for the artist to establish. Having a constant interaction and learning will be a good support. In my journey, I think I have just passed the initial stages and am progressing.

The live orchestra’s contribution added hugely to Madhavi’s performance recently with Nattuvangam – Lokesh Raj (Kalaksheetra Chennai), Vocal – Ravikanth, Mridangam – Chandrakanth, and violin – Shivakrishna Swaroop