Building bridges
G.S. PAUL
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Fr. Saju George, a trained dancer, says that he wants to build bridges between religion and culture through the medium of Bharatanatyam.
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Hindu mythology is an intrinsic part of our culture to which I also, as an Indian, belong.
DANCE AS WORSHIP: Fr. Saju George has choreographed a number of stories from the Bible.
For the Jesuit priest Saju George, Bharatanatyam is a spiritual exercise as significant as the sermon from the pulpit or the Holy Mass from the altar.
"I want to make Bharatanatyam a source for building bridges between religion and culture," says Fr. George who has been systematically groomed by stalwarts like Kalanidhi Narayanan, C.V. Chandrasekhar and Leela Samson.
An insatiable urge for dance was innate in him even as a child. This motivated him to imitate the performances of his elder sister and classmates. But he got an opportunity to undergo training in the traditional pattern only after he joined the Society of Jesus (SJ) in Kolkata after completing his Plus Two.
Four years of rigorous disciplining fashioned the Kuchipudi dancer in him. He had his arangetram and further lessons under the supremo Vempatti Chinna Satyam. But the stay in Chennai for philosophical studies necessitated a shift from Kuchipudi to Bharatanatyam. Back in Kolkata, he completed his post-graduation in Bharatanatyam from Rabindrabharati University. And later, he secured a doctorate from Madras University for his thesis on `Philosophy and Religion of Indian dance.'
Over the past decade, after his arangetram in Bharatanatyam, Fr. George has performed in all the major cities in India and also many countries abroad.
A native of Piravam in Kerala, he was in Thrissur recently to stage a Bharatanatyam recital at `Chethanotsavam 2006,' organised by Chetana Sangeet Natya Academy as part of its first anniversary celebrations.
In an interview, he expatiated on his approach to Bharatanatyam and its efficacy to act as a catalyst for social and religious harmony. Excerpts:
You learnt Bharatanatyam in the traditional style and you are presenting it in the traditional format as well. All the compositions embrace stories culled from Hindu mythology. Is there a contradiction in a Christian priest performing such pieces?
A dance form like Bharatanatyam originated as part of temple worship. Its essential philosophy is the union of the jeevatma with the paramatma, which is the essence of spirituality irrespective of religious faiths.
Moreover, Hindu mythology is an intrinsic part of our culture to which I also, as an Indian, belong.
You have a number of choreographed works based on Biblical stories to your credit. How are they accepted by the audience?
Yes, I have numerous ones. They have been well received by the audience. I must add that there is immense scope for abhinaya and improvisation in all such numbers.
Episodes like the crucifixion, healing of the sick, walking over water and so on when presented against the backdrop of music set to appropriate ragas and talas engender an unprecedented experience, both for me as a performer and the audience. `Navarasas of Christ,' which was choreographed by me, is a good example.
Are the mudras of Bharatanatyam sufficient to delineate such themes?
They are not adequate. But a lot have been coined to suit the themes, with help from my gurus, especially Prof. Chandrasekhar. And they communicate effectively too.
Male dancers imbibing effeminate postures has been pointed out as a reason for the dearth of male dancers. Even a recent Malayalam film had dealt with this phenomenon. What could be the reason for this?
I think that is not a general phenomenon. Poor grooming by ill-equipped teachers is one of the main reasons.
What is the attitude of the Church towards Indian Classical dances?
Very positive. Nowadays more and more Christians are learning classical dances throughout the country.
As for me, permission has been granted whenever I had sought it from my superiors in the church.
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