Association of Bharatanatyam Artists of India, the organization that blurred the boundaries between genres to bring dancers under one umbrella, turns 35
Association of Bharatanatyam Artists of India, the organization that blurred the boundaries between genres to bring dancers under one umbrella, turns 35
They like to perform on well-lit platforms in front of huge audiences. It feels good to be recognized and appreciated. Nevertheless, artists often experience a sense of solitude as they yearn to be in their own space where they can introspect and explore. Having a distinct style is undoubtedly an asset, but the exchange of thoughts and feelings, especially with co-stars, can help lead to a deeper engagement with art.
“ABHAI (Association of Bharatanatyam Artists of India) was launched primarily to facilitate this. The idea was to bring all the actors under one umbrella,” says Rosa Kannan. A senior Bharatnatyam dancer and teacher, she is the current president of the organization. The art form is known for its diverse banis (schools) established and nurtured by the traditional Nattuvanars. Over the years, the lines between the Banias have blurred, but at first this distinction was strictly maintained as the gurus did not have cordial relations, and also prevented their disciples from interacting with people from other schools.
“Stylistic variations provide dynamism in form, but harmony among artists is essential for the sustenance of art. Combined visualization can be a powerful tool. I think Guru KN Pakkirisamy Pillai realized it when he took over as the first President of ABHAI in 1987. He was then a member of the Iyal Isai Natak Mandaram and was the head of the drama department at the Government Music College. Soon the organization became the voice of the Bharatanatyam fraternity; Taking the problems and concerns of its members to government officials,” says Rosa, whose tenure has been the most challenging, with the pandemic disrupting the dance world.
As the performance came to a complete halt, the artists faced an uncertain future, some even struggling for survival. “During this phase more than ever we realized the importance of abhay. We have emerged as a formidable collective force to help artists in distress by providing material, emotional and financial support. In addition to reaching out to the dancers and accompanying musicians, we extended support to teachers, make-up artists, costume designers, lighting technicians and stage-craftsmen associated with Bharatanatyam. The beneficiaries included folk dance artists, puppeteers, nagaswaram and thavil artists and repairers of musical instruments. This crisis reminded us that dance is as much about what’s happening in the world as it is about the poetry of the body on a stage. ,
An incremental workshop on ‘movement medicine’ conducted by Anita Ratnam. photo credit: credit: abhay
space for thought
Over the years, ABHAI has evolved from just an association of artists and technicians to a platform for an idea. This change is relevant as it is time to re-imagine the culture of dance and performance. It is essential to build an ecosystem that makes art accessible and inclusive. The beauty about dance is that it can turn the ordinary and the mundane into an art. Therefore, groups like Abhay have a bigger role to play – in creating new futures.
“The past president, all legend in his own right, brought with him an invaluable exposure to the intricacies of a traditional art form and an amazing ability to develop it into something exciting,” says Rosa. “It is this energy that we channeled into our arbors, which was conceived by Adyar K. Lakshmana, when he led the organization. An excellent blend of practical and theoretical lessons, they provide young learners with an opportunity to interact with great mentors. ,
Dance is much more than its traditional image and there are many layers to an artist today. For example, one needs to understand the screen (virtual medium) as well as the stage. He must imbibe classical technique but re-imagine it for contemporary audiences by freeing his body and adopting innovative concepts.
Students of various dance schools performing on the Annual Day of ABHAI in 2017. photo credit: credit: abhay
“Abhay was started not to promote talent, but as a support system for dancers and technicians,” says senior exponent Chitra Visvesvaran. “There was more focus on welfare activities like insurance scheme, medical assistance, train travel concession and assistance during calamities. The 2015 Chennai floods happened during my tenure, and it was then that we first came up with a method for collecting donations and distributing money. Some of the dance festivals that we started were only to provide opportunities to deserving young artistes. In his own small way, Abhay wanted to end the ‘pay to perform’ system that was killing art.”
One of the most talked about festivals organized by Abhay was the Mahabalipuram dance festival which was organized during the tenure of veteran dancer Lakshmi Viswanathan as its president. Another historic event was the ‘Rajarajeshwaram 1000’, a live performance by 1000 dancers from across the world, conceived and led by the then President Padma Subrahmanyam, to celebrate the 1000th year of the Brihadeeswaram temple in Thanjavur.
VP Dhananjayan, who was both the Founder-Secretary and Chairman of the Abhay, has been following its journey closely since its inception and is proud of the way it has held its members together for over three decades. “We had some meetings initially at my institution Bharatakalanjali, before R Krishnaswamy offered free space to the Narada Gana Sabha. Since then Abhai is working from there. Efforts are being made to have a building of its own equipped with theatre, rehearsal hall, recording studio, audio and video library and rooms for visiting artists,” says Natyacharya.
“While Sudharani Raghupati (who was also the President) chose ‘Chin Mudra’ as the symbol, I named it ‘Association of Bharatanatyam Artists of India’ ( Abhay Means without any fear). The name clearly defines the purpose – to help artists pursue their passion fearlessly,” says Dhananjayan.