‘It’s lovely to be a dancer at any Given time,’ Says Bharatanatyam Artiste Vidhya Subramanian

The term ‘classical’ has gained a whole new meaning in today’s world. Boundaries have become porous and artistes are redefining the geenre in their own distinct way. While collaborations reign high in music, bharatanatyam exponents have started showcasing the classical form’s flexible core. Even its time-tested reepertoire (margam) Is being reinterpreated to Accommodate Newer Perspectives. Add to this, the increasing revenue through social media and technological intervention. It seems like a great time to be a dancer. Ask Vidhya Subramanian, and Pat Comes the reply: “It is lovely to be a dancer at any give time.”

Explaining Her Response, Vidhya, Who have done her masters in theater arts, say: “I have danced under the guidance of my guru sk rajarathnam, when terms such as’ VIRAL ‘and’ VILES ‘did not exist’. Now, an AI-Driven Era, with the Liberty to Ideate and Implement. Sit on the CUSP of Tradition and Innovation, deriving the best from both. ”

Amid rehearsals, vidhya reflects on how the dichotomies of life – Progress and Rootedness, Silence and Sound – Energise Her. This very thing also fuels ‘Damaru’, her first major production, after she shifted base from the US to India. “Post Pandemic, I Returned to Chennai to Reconnect with the Culture that Defined My Journey. It is then that this production began to take shape.”

Watch Vidhya subramanian explain about the new creation

Video Credit: Special Arrangement

‘Damaru’ was originally designed by vidhya as a solo margam piece. She Later elaborated on the idea and turned it into an ensemble work. The choreography emerged from a discussion she had many years ago With dance-scholar s. jayachandran on balance and imbalance. IT Set Her Thinking. Finally, in Shiva’s DamaruShe found a connection to that conversation. “What Struck Me About The Instrument was not the sound, but the shape. It helped me visualise the concept of duality – the confluence of feminine and masculine energies. Different Ways, and how we try finding a balance through them.

‘Damaru’ was originally designed by vidhya as a solo margam pie. Photo Credit: Inni Singh

Today, Most Classical Choreography Exhibit The Fluid Relationship Between Codified and Experimental Movement Vocabulars. Most dancers work on rare, expansive sequences. “But dance is not about constant movement. Says Vidhya, who trained in Abhinaya under the Inimitable Kalanidhi Narayanan.

Vidhya’s AIM Behind Establishing Sparsh Arts Foundation, Under whose Aegis ‘DAMARU’ is being presented, was to create a pedagological space where diversie influences and Ideas inhabit. “Right from 1991, when I started the lasya dance company in california, I wanted to play the role of a catalyst – shaping the artistic philosopheies of young men. Life, you have to help them hold on to the art and make them realise its beauty and power. ”

Vidhya, who have choreographed 12 works before ‘Damaru’, Feels the approach to choreography has “transformed trendily”, from relaying on predetermined narramative and Emotional Content to bening Infined by one’s study, research and observation. “You Piece the work togeether like building blocks. But a production Never Feels Fully Constructed, it is always a work in program.

The Production Celebrates The Collaborative Spirit of Art | Photo Credit: Season Unnikrishnan

Apart from Vidhya, Who Leads The Ensemble, ‘Damaru’ features anahita chaliha, anisha parameswan, archa shajukumar, manasa vijaychander, pranathi ramadorai, pranathi ramadorai, Rutuja kumar marne and subashree sabashree sabashree Were selected after an audition. “It’s interesting to push yourself ITO DINTO DITSIDED OutSide of What is Comfortable or Habitual. Expect, but with the ‘Damaru’ team, it felt good to be surprised at different points of time.

The starting point of any ensemble work is conversation. Martha Graham, A Pioneer of Modern Dance, Believed It Helps Undrstand Each Dancer’s Body and Spirit. “Exchange of Ideas and Experiences is Crucial to Build A College. And spoke about how the body can think as much as the mind. Asked: “Why the damaru and not the mridangam or the table?” My Response, In a Way, SET A Contemporary Context to the Piece – “Because, the damaru is a social level. Be it the street, stage or a sacred space, its sound can permeate it all with ease. “

‘Damaru’ will be Premied on July 13 (10.30 AM) Narada Gana Sabha. Tickets at Tikkl.

Vidhya Sees the Damaru as a Social Leveller | Photo Credit: Courtesy: Beyond the Nook

Published – July 09, 2025 02:37 pm IST