Delving deeper into the nuances and exploratory possibilities with the histories and future of the classical dance form, Bharatanatyam
"I had to find answers to the questions I had, through my art form. It all began as a search for the truth and the recent recital was in a way a presentation of that aspect." - Matangi Prasan
When did you start learning the dance form? How has it helped you grow and
learn along the way?
I started learning dance when I was four years old. Undergoing classical dance training
has brought in a lot of discipline into my life. Academically, it has made me meticulous
and it has also helped me perform well in my studies throughout school. It has taught
me to embrace the disciplined way of life and take it forward through various other
aspects in my life. The next is that it has made me more sensitive to the people and
happenings around me. I have learnt to feel for society, for the people and bring that
into everything I do. Lastly, it has given me a strong sense of identity. Of who I am or
question myself as to who I would be, 50 percent of that is given by the dance form itself
and the other half, well, I’m still in search of it, questioning it.
Has your style/form of dance evolved through the way? Or does the practitioner
evolve along with it?
Any day, the form is bigger than the practitioner itself. The form is unlimited and endless like a huge ocean that is yet to be explored. Often I feel that it is the practitioners
themselves who build the barricades around it. The form is tough; it sometimes tends to
get stuck due to a certain trend. Only when we delve deeper into it do we unearth the
various possibilities and explorations within. For example, with dancers in the past, they
didn’t give much attention to body conditioning exercises and workouts. Due to this,
their performance periods were short lived and they used to have more injuries often.
However in our times, there is more importance being given to body conditioning
methods and fitness levels. If you see the ‘aramandi’ posture itself gives a lot of stress
in your knees and without enough workouts, it is not easy to last long in the
performance business. You may look at it as an evolution of the dancers or the dance
form; either way. If you indeed learn and find the texts of Bharata’s Natyashastra, there
are practices called ‘yayamas’ which speak of fitness exercises. So, the form seems to
evolve along with the practitioners but actually, it is the practitioners who evolve along
with it as well; while there is also enormous knowledge of the dance standing there in its
unbound state.
How important is the role of the guru-sishya parampara while learning any
classical art? How has the tradition changed from then to now?
Yes, earlier the tradition was followed in gurukuls and ashrams where only a few
privileged parts of society could learn the arts. Now, due to affordability, there is equality
in the provision of the arts. Either way, the guru-sishya tradition is very important in
learning any classical art form. Back then the tradition was more personal as the
number of students was lesser. Today, even in a class of 15, teaching for an hour is
quite challenging as individual attention has to be given to everyone. However, I feel
that even if the numbers have increased, the age-old tradition of oral teaching is the
best way to teach any art form. Nowadays, there are online classes for dance and
music, but it wouldn’t be effective as all the practices have to be learnt with muscle
memory and not just reading or writing about it. Skype classes are still okay as long I
have taken classes for the student in person.
Democratisation of dance has given everyone a chance. However people argue
that it has reduced the quality of the dancers that perform. What is your view?
Bharatnatyam has a huge market in India and the world. During the revival of classical
dance, Rukmini Devi Arundale, the founder of Kalakshetra developed a certain
nicheness to the form. Thus everyone wanted to learn the dance and it has now
become a norm for any Indian woman to know a classical art. Like how people go to an
English medium school, they go to dance classes as well. The dance form is so well
received that it has the potential to become a huge learning enterprise. However, I
would say that the dance has not been completely democratised; yes, it is affordable for
everyone to learn, but not for everyone to perform. There is not a single female solo
performer in the industry that has a “rags to riches” story. It has been performed only by
the affluent since the cost of performing is very expensive in your initial years till you
attain some fame. This is due to the absence of a single governing body that monitors
these aspects. So, I would say that democratisation is only in learning and not while
performing.
Regarding your most recent performance, what sparked you to take the varied
narrative that you presented?
Firstly I got a little bored with performing traditional pieces. I am not saying it in any way to question the intent of the form, but I wanted to take up a challenge. Every time I
practise and perform, there has always been something uncomfortable that I felt due to
the many questions that I had. Dancing day in and out about mythology, gods and
saints was greatly helpful in my practice but I had to find answers to the questions I had,
through my art form. It all began as a search for the truth and the recent recital was in a
way a presentation of that aspect.
In the first piece about Kaveri, I wanted to present more about the value of the river to
the commoners than the mythological significance attached to it. I wanted to portray day to day scenarios and wanted to talk about the political issues surrounding it as well. I felt that in classical dance, much importance is given to glorification than the real truth. So that is why I chose to show real life scenarios but still on the positive side of the story.
The second piece “Na Hennade” is a more feminist outtake on societal situations.
Taboos on menstruation have been spoken a lot about through poems and plays often.
So I thought to use dance as a medium because it is the form I know.
Interlude: To understand about Matangi's performance, here is a short description of what was presented.
The event happened on the 28th of September,2019 at A.D.A Rangamandira, and as part of the dancers’ initiative toward the Cauvery Calling campaign that was taking shape as part of the widespread Rally for Rivers movement across India. The event consisted of performances from three eminent dancers – Ms. Matangi Prasan, a Bharatnatyam dancer who conveyed her stories through unconventional narratives; Ms. Divya Morghode Ghogale, a Kathak performer whose scintillating style captured everyone and the Sankhya Dance company who created a production so momentous that the audience was left in awe.
Matangi Prasan, a soloist and Bharatnatyam danseuse, narrated two exceptionally well thought of stories, both under the umbrella of the concept, “Taruni” – visualized as a journey of a young girl transitioning into adulthood and the emotions that she goes through the change. The first piece showcased the river Kaveri as a young girl, played by the dancer herself. The journey of a young Kaveri through forests, villages and paddy fields was vividly painted as scenes that the audience could engage with. The cheerful music and the movements borrowed from folk forms as well as the classical steps created a blend of elements. The second piece, "Na Hennade" was a more powerful and thought provoking story on menstruation and the social circumstances that a girl faces when stepping into the realm of adulthood. The use of the music and tala to differentiate the stages of a girl coming to age was very effective in gaining a connection with the viewer and strengthened the progress of the narrative. The tool of telling the difference using similarities worked out here, and added with an on stage nattuvangam artist Preethi Baradwaj who engaged with little dialogue made the piece a memorable one and something to take back for thought after the show.
How do you maintain the balance between the grammar/ traditional elements and your own creative expression when it comes to performances such as these?
I think that comes entirely with experience and new attempts in choreography. I have
been fortunate enough to be trained by very experienced gurus who have given me
confidence in my grammar of the dance. Also, they made sure we watched a lot of
performances to understand the various styles of choreographies by eminent dancers. I
still make sure that I watch at least a play or a performance every week. Attending these
gives a newer perspective about art. It helps me learn and unlearn what is okay and not
okay. Even after my own performances I ask my fellow dancers to review it and have a
discussion. This helps in a process of growth and strengthens your conviction when you
perform.
How do you connect the dots between various art forms and the cultural
significance of each when choreographing your own pieces?
I feel that the main thread that connects them all is emotion. Everything is driven by
emotion, whether it is literature, poetry or dance. At the heart of each form is
storytelling, and that is what is the root of my own creative expression as well.
As a dancer how important are the elements such as set design, lighting and
costumes?
These elements matter a lot in a performance. It is at the liberty of the performer to
experiment with such elements. Few dancers create a cultural extravaganza with their
elaborate costumes, props and fancy lighting while some like to keep it toned down and
use a simple saree. Personally, I would really like to experiment with costumes,
particularly in group productions, but haven’t been able to wholly reimagine the
traditional costume; partly because the traditional costume is so comfortable and gives
room for both gracefulness and vigour. However, I have tried using various fabrics and
would invite any of you NIFT students to help me out with that!
Author's Note: This interview was conducted in 2019 and published on December 5th, 2019 on "The Eclectic", a cultural blog made for a college assignment by the same author. Republished here on March 12, 2025.
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