Krishna BhAratham: A lesson in humility

My conversation with the Choreographer of Krishna BhAratham turned out to be quite the spiritual experience. 

Having approached him to discuss his experience with working with SIFAS and our dancers, the conversation instead took on an inspiring twist where he shared values he had learnt in his own life. I was beginning to understand why the performers were in such awe of him. He spoke little of himself and his achievements. Instead, his work and his subtle influence on those around him spoke volumes. He was indeed a unique presence in our Arts Festival atmosphere. Even I felt some regret that I had not been more involved with this project.

Having heard from some of the performers in prior articles, we have today, extracts of an interview with the Choreographer himself, a presence we affectionately address as Sheejith Sir. Having spoken to him and observed the rehearsal, it becomes obvious that this will be a production you will regret missing. Unlike most dance performances which tend to focus mainly on the dance and music (obviously), this production seems to be a subtle attempt at social reform utilizing the age old medium of the Bhagavad Gita verses.

Krishna BhAratham

8 pm, 8 April 2012 at the Esplanade.

For more details or tickets, do contact SIFAS at 6299 5929.

You may also wish to contact us at sifasalumni@gmail.com

Now, a little more from the man himself..

I learnt from Kalakshetra that an artiste should be humble; the better to learn and also to give

I tell my students to be like a sponge of good things; all aesthetic values included. What you learn, how you stand, mannerisms etc

In dealing with culture and tradition, we try to portray good things through the art. Show good things about your life, not vulgar.

You must also be approachable, then only will you become a complete artiste.

Even while working in a group, I tell the students that working in a group is always more difficult yet rewarding. In fact, I often make them stand together and hold hands before commencing.

Parasparam is very important to me. Even in relation to trees. In observing the child ( I believe he was referring to the dancers) their faces bloom a different way when we melt their hearts. (wow!)

Sometimes you forget why you are an artist. What is your duty as an artist? And it’s a journey. Just need to remind you not to hurt anyone. That will remain in your dance.

Logistics: The Alumni Journey

Sangeetha Elango is the General Secretary of the Alumni Committee and also part of its dance sub-committee. She has performed in nearly every performance of the SIFAS Alumni since it's formation; the first in house Arts Festival performance in 2009, Saptha Sthuthi in 2010, Academy Day 2010, Arts Festival and Navarathiri 2011 and now in Krishna BhAratham.

Sangeetha has also witnessed our struggles in getting musicians and dancers organised for each performance, and has herself been torn between focusing on her performance and the logistics aspects of a show that she is performing in. The Alumni has come along way in terms of man power and organising itself. I had a chance to ask her a few questions to ascertain if there indeed has been an improvement to our usual logistics dilemma.

"You worked on the last production, Saptha Sthuthi. How is this different?

Firstly, Saptha Sthuthi was of a margam concept, this is a dance drama. In a way, it’s a very universal theme, the MahabhAratha. Something everyone can relate to. A story everyone has heard in one way or another. The message is therefore very accessible.

I hope the audience will enjoy it as much as we have in being involved in this production.

This time you are also part of the organising committee. How would you say that this experience has been for you?

From the last experience, where everyone was running around doing everything, we have learnt to become more organised and delegate. We have received a lot of assistance from persons like tharmarai akka, gomathi akka and the festival committee. This way the dancers are able to concentrate on the production with the logistics being outsourced."

We are always looking for people to become a part of our little venture. 

If you feel like your performing years are behind you but enjoy being part of the buzz, do contact us. If you are an alumnus of SIFAS and have either graduated with SIFAS, completed up to 5th year or spent at least 5 years with SIFAS as a student, you become eligible for Alumni membership. Come join us and be part of the excitement which is most guaranteed to follow.

A woman aggrieved

She came with hope

She did not expect to become a victim

What does she now hold on to?

Who is this man who now torments her?

Will she escape him?

To know who she is, who he is and what becomes of them, do join us at Krishna BhAratham on 8 April 2012, at the Esplanade.

I can't see my life without Dance

Thank you everyone for your encouraging response to our series of updates and interviews leading up to SIFAS Alumni's presentation of Krishna BhAratham on 8 April 2012. Next in the series is a short interview with Dhriti Vaidyanathan, Marketting Club 21.

Having completed your arangetram sometime in 2006, you would have gained some experience over these years. How would you compare your prior experiences to your current involvement in the Krishna BhAratham production?

When I did my Arangetram, I was 15 years old and pretty inexperienced. My focus has since shifted. Before it had been on the technical aspects such as remembering the item itself. You could say that I was at a “beginner” stage then. Since then, I have learnt to place more emphasis on the songs; in understanding the raga, tala and intricate aspects. So I come across not only executing but also emoting the piece. This understanding of the relationship between the music and dance has also enhanced my presentation.

You have shared with us your growth as an artiste. Has this experience impacted you as an individual?

Living outside India and having that connection to your culture is a satisfying experience. I feel fulfilled. And it goes beyond learning and this experience with Krishna BhAratham. I now can’t see my life without dance. It has gone beyond being a hobby to now becoming a serious part of my life.

It seems to have been a life changing experience for you...

Sheejith Sir incorporated about 6-8 verses from the Bhagavad Gita. A lot of them impart general values, but the underlying message I get from it all is to do your best and there is nothing beyond that within your control.

I have had to struggle with balancing work and dance. Trying to plan my time in advance can be rather stressful, so I am taking each day as it comes. Putting my best foot forward.

Our journey: from Saptha Sthuthi to Krishna Bharatham

Thamarai Krishnan (in pink. Our editor Poorna is in the background) or Thamarai akka as the dancers have become accustomed to addressing her, is the person in charge of the dance arm of the Alumni. She has with her a group of dancers who come together as part of a sub-committee to organise dance events and workshops. She also sits on the main Alumni Committee as the Dance IC and represents the interests and needs of the dance Alumni of SIFAS.

With respect to Krishna Bharatham, she is the silent but helpful force behind the logistics of the show, be it dealing with the dancers or dealing with the rehearsals. She had previously participated in the Alumni’s last major dance production at the Esplanade. This time, she has given rest to her performing role and provides an essential supportive function. She has a complete view of the production from its early days to now, as the final event draws near. Her perspective would be interesting.

You were very involved with Saptha Sthuthi when it took place two years ago. How has this experience been different?

In Saptha Sthuthi, I was one of the dancers so my contribution was less towards coordinating the program and more towards just performing, unlike now where it is all together a different task.

From last November I've been the coordinator and have been coming for rehearsals with the girls and watching Sheejith Sir teach. This gave me a better understanding of the production, which then helped me and Gomathi (Alumni President) to conduct rehearsals in Sheejith Sir's absence together with the help of Sanjith Sir and Shyam Sir.

Do you miss dancing?

Of course, I do! Especially watching the rehearsals, sometimes i feel like getting up and dancing, especially when there are some distinctive dance steps. I enjoy the rehearsals and being in most of them, I feel part of the production.

Struggles and Growth?

Initially the dancers were not as “into” the production. They were interested in dancing but not invested in the production itself. As the production progressed and rehearsals got more intense, the dancers got more involved, and they became more committed.

At the beginning, the group consisted of individuals with a dance background who had come together. As the production progressed, I find that from the perspective of a coordinator, the dancers are more willing to commit to achieving a sense of unity in their dance.

From our own experience organising events, especially dance events, we always struggle to project our efforts as that of a collective Alumni as opposed to that of a group of artistes dancing to the same song. This requires time, dedication and compromise. Do you see this vision now being achieved through this production?

Yes, the girls have also improved their level of dance and it is indeed a great opportunity for them to be a part of this production. The dancers have come to understand one another and have learned to work as team, which will moreover develop their interest to be part of any future alumni programmes, either as a participant or as an organiser. Just like me, in Saptha Stuthi, I was only dancing and am now doing a different role as coordinator.

Tell us more about Krishna Bharatham itself

I understand that a social message is being imparted through this dance.

Krishna Bharatham is about how humble and honourable one can be as a person to gain perspective and achieve more in their life. For the dancer, this is one level higher than the usual margams that they would have performed and is truly good exposure for them. This production requires acting and self development; it forces them to come out of their shell and grow as performers. They have also learned to adjust their performing styles to coordinate with the rest. I believe that it will definitely help them in future dance dramas.

An experience with Humility

“We are all apprentices in a craft where no one ever becomes a master.” 

― Ernest Hemingway, The Wild Years

The rehearsals for Krishna Bharatham have intensified. This week, I had the pleasure of  observing the choreographer and dancers in action and was also able to draw a few of them aside for a quick chat (only before and after rehearsals of course-Discipline was at its most effective during these rehearsals). 

In chatting with with our SIFAS Guru, Guru Sanjith Lal, I found that his humility came through with each anecdote he shared and I was reminded during these moments, that the only way to pursue any passion or creative art is to do so with complete abandon and humility. Although his responses were brief yet candid, you will find that they urge you to consider your own process of pursuit of a creative art form.

You have worked with the choreographer previously, during your own training with Kalakshetra. Now, you are established as a guru yourself in SIFAS. How do you feel working with your guru? And that too alongside with your current students? How is this experience different?

Sheejith Sir was my class teacher in my final year at Kalakshetra. As a guru, Sheejith Sir is as always very strict, especially when it comes to technical or traditional aspects of the dance form. While he remains friendly as a person, he is very focused on the art form and is particular that the Kalakshetra tradition be maintained. In his classes, you will find that such focus is emphasised.

But what a wonderful person he is and "extra talented" too. Further to dance forms, he also knows how to play the mridangam and compose music. In fact, the musical score of Krishna Bharatham is composed by himself and his wife.

With regard to the students, I have found that they have learnt a lot from this experience and have in fact become more disciplined.

It is interesting that you speak of discipline. I think one of the difficulties teachers of SIFAS have often had with students is their lack of focus on their respective art form. This is understandable especially  in light of the fact, that here in Singapore, the pursuit of the art form is a hobby to which only a few hours are dedicated while their primary focus is their studies or career. Would you say this has changed? Do you find them to be more inspired?

Of course! The students have become inspired both by the way he teaches the dance and also by the way he conducts himself and the classroom. Let me explain.

When Sheejith Sir starts the class, he turns on the electronic tambura and the sruthi is allowed to fill the classroom and remain in the class throughout the session. When the students hear the tone of the sruthi, they too become calm and inevitably more disciplined. 

Further to this, I find that the way he conducts the class seems to influence their behaviour; toward making them better human beings. I have found ego issues and insecurities to become dispelled. There has also been an improvement in general class conduct which I hope will remain long after the production is over - punctuality is one example. ALL are in early, at least a few minutes before the start of a session.  This is a rare occurrence in SIFAS.

You are yourself a young artiste and would be performing at the Esplanade with the students and your teacher, this must be a special experience for you.


Dancing with my teacher and my best friend, Shyam (also a guru at SIFAS) on a foreign stage is quite the experience. When I am in front of Sheejith sir, I feel as I had those days back in college (kalakshetra). He also treats us that way, as one of his own.

That statement seems to suggest the humility that the teachers of kalakshetra have imparted to those like yourself, the understanding that it is a continuous process of learning. 

In terms of ego, it is often easy for an artiste to get carried away with the limelight. What is your opinion on this and what would be your advice to other aspiring young artistes? How would you suggest they go about this in their day to day efforts in pursuing an art form?

I would ask them to be happy with the opportunity and give it sufficient justice. The quality of your performance as opposed to the quantity (of time) of exposure speaks volume.

Krishna Bharatham: The Alumni Experience

While walking up the SIFAS steps to our first Alumni meeting with Sheejith Sir and the dance teachers, a range of emotions floated through my mind: I was thankful for the opportunity, but didn’t know what to expect at the same time. All the participating dancers had a common, long-standing relationship with SIFAS that tied us together – yet every production is a new experience with its own challenges, hence an inevitable sense of anxiousness dawned upon me. 

This anxiety turned into excitement minutes into the meeting. Sheejith Sir explained the essence of the storyline and what we were expected to portray, and I became all too energized to be part of this journey. I knew from then on that learning under such an esteemed choreographer and dancer was certainly going to be a valuable experience for us all. 

Training for this show has nonetheless had its fair share of challenges. Our first couple of days were a little daunting, as we were still trying to figure out the steps and formations. I for one had the extra challenge of regaining my stamina for the nritta sequences after a long break from dance....the struggle on that front still continues! ;)

But through the sore backs and legs, I have certainly learnt some great lessons from this venture. At each rehearsal under Sheejith Sir, there has been at least one moment that left me in awe. Whether it was a correction to the angle of our body, or our character portrayal, or even watching him jumble the beats to choreograph a new sequence – I was left admiring his talent and experience. Watching fellow dancers and how they have progressed in their individual parts has also been great. We have all been able to learn from each other and collectively become better dancers together. Sharing the stage with Sanjith Sir, Shyam Sir, and Sheejith Sir is both intimidating and inspiring at the same time. The symmetry of their aramandis and sharpness of their movements has boosted my energy to work harder to improve my standard of dance to the best of my abilities.

At this moment, we are working towards making the best production we can make for the audience to enjoy the essence of Krishna through the Mahabharatam. But the lessons I have learnt through this process will certainly be with me even after the evening of April 8th 2012. 

~ Sruti Rao

The Dancer's Perspective

Krishna Bharatham


Esplanade, 8 April 2012

As dancers, we sometimes wonder why we put ourselves through long, consecutive late night rehearsals that leave us physically and emotionally exhausted. We ask ourselves if it’s worth it when we have exams to sit for, readings to finish, or 12 hour experiments to complete the next day. But then you realize that your intrinsic love for the art form will always trump the Proms you miss, the recurring knee injuries, and the aches that make it oh so hard to stand in the train the next day.

I speak for myself here - the experience from Krishna Bharatham is unlike other productions that I’ve been involved in. It reinforced of the (lack of) discipline that we started taking for granted during our usual dance classes (suddenly we raced to be on time for rehearsals and started accounting for when we would be late for class); we put in extra effort to remember what had been taught the previous day. Our aramandis became lower than usual, and we discovered that our bodies could bend farther than we thought they initially could. Karvais were now of utmost importance – (as ashamed I am to admit this) it suddenly mattered whether that pause was a thaka or a thakita. Our feet were getting used to calculations we had not experienced before. On the whole, the experience has taught us to look past technical perfection and to embody a bhava with our physical forms.

Bharathanatyam fits differently on different individuals, and the inevitable challenge in a group production is to coordinate everyone’s movements. Bharathanatyam may be better known as an individual art form, but the challenge is in dancing in a group. The experience has been great so far, with all of us watching out for each other. (Admittedly, we are still struggling, but I’m sure we’ll get there by show time.) The best lesson one learns when dancing with others is that working as a team is key – this means abandoning that ever-present artist ego, and realizing that you only look good as long as everyone else looks good. Of course, group productions always mean that you have that much more fun getting to know your fellow dancers :)

It has also been an amazing experience working with Sheejith Sir – there is so much to learn from his years of experience. Even though he is twice our size and irrationally terrifying, we have been so fortunate to have this opportunity to work with such a renowned composer and choreographer. There is so much to learn from just observation – from his expressions to his thought processes and to his ‘instant’ korvai calculations. To be on the same stage as Sir is such an honour, and an experience that none of us will forget.

~ Anuja Varaprasad

Make sure to support the SIFAS Alumni in their performance of “Krishna Bharatham” on 8 April 2012 at 8pm at the Esplanade. Not only is the dance choreography worth the watch, but the music composition will keep even the dance-averse enthralled.