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.