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CHAT CORNER

Kiran Segal

It went off well. It was mostly for the parents. It’s not meant to be taken as a professional show. Naturally every parent is keen to see the child’s progress, and they all think that within two or three months the child should be dancing beautifully! Explaining to them is no use, really, which is why I put all of them, from chhutkus (tiny tots) till those in their mid-30s, on stage… There are students who are really good, then there are those who can be good but don’t work so hard. And there are some who are not meant for dance. Some parents say to me, keep teaching my child, because at least it’s better than watching TV. Though I don’t think that is a good idea, since in the long run that child might think, why do I not get a chance to perform? Then there are the students senior to the others, but still not professional. And finally, the girls who have been learning for 14-15 years. Seeing them all dance, people can see the difference.

I tell them, in the first year, they should wear salwar-kameez for the dance class, and after that we go in for the dance sari. Some parents say, my daughter doesn’t have a salwar-kameez! I say, okay, get one stitched. It is not a part of their culture! I explain to them, culture is not just dance.

Children often come to learn just to jump on to the stage. That also should not be the case. It should not be like a little dolls’ museum. The way you interact at school, with your friends and other people, it is important to make it all a part of being a dancer, but that is not there. You should not be like a devadasi… but it is more difficult for us as city dwellers. I’m fighting a losing battle, but I enjoy it. I love teaching.

When a talented child leaves dance, I feel disappointed. It’s like building something from nothing, and then going to nothing again. I don’t get so worked up now, I don’t get so emotional. But it is a dhakka (shock) for me, when a child suddenly stops and says I’m going into Law, or Computer Technology. I really am at a loss. The age from about 13 to 16-17 is very difficult. It’s a tough time, for parents as well as for the girls. There is peer pressure, hormonal imbalances, etc. This is the time the mother plays a very important role. But even if they leave dance, I still hope and pray whatever they do, somewhere the art will stay with them.

Choreography to me means how you actually work out the dance, whether in groups or duets or trios. Everybody can’t choreograph. It is necessary to have a good sense of design and space. Some people study the medium. I have it in my blood. One day my mother said to me, you never went to a school for choreography. How come you choreograph so well? It’s your father, he was a brilliant choreographer. I said I don’t know, but anyway, I work on it. Some of it turns out rubbish. Then I try again and keep working on it.

This so-called innovative choreography also, sometimes it is all nonsense. People say, ‘She’s such a good dancer, always doing something new.’ Doing something new is no joke. It’s not easy. It comes like a gust of wind. And then it goes away and you can’t do anything more. I’ve seen if I force myself to do something more, it doesn’t work. Then I leave it to another day.

The process starts much before the dance. When in your mind you have the form and you have your dancers, then you have to do it, to make space in your mind.

Choreography also comes from your life and experience as a dancer. You evolve as a human being, as a dancer, and all these things help. Finally of course, we will all die. And you’re lucky if you can create. You’re blessed. Nowadays I think this is an innovation keeda (bug) that is biting everybody.

There are not such strong dancers, but it is also because we don’t live that culture anymore. I often think about this. People buy tickets to see theatre, but not dance. Why? Because they feel connected to theatre. I think they are a little divorced from that dance culture.

I have been invited to do some work on Tagore, and have been left totally free. My thinking started two months ago, and it’s gradually gelling. I still have two-three months. As I said it takes me a long time. I’m working on it not physically but mentally. I’m getting it translated. This is important for me. This used to happen to me with my Bharatanatyam too. I would go to different people to understand the language. If this Tagore project is a success I want to take it all over India. But this is just me — I dream all these things. Like when we presented the compositions of guruji (Mayadhar Raut), many people had to be turned away, and I would like to do it again. But we need money and I am hopeless at all this.

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