I was in Delhi recently for an event, and again had the privilege to meet and dine with my favourite Dr Sonal Mansingh. She is a bundle of energy and agreed to take me out to give me a glimpse of the dance scene in Delhi. That was an evening to remember for a classical dance lover like me. Dr Mansingh took me to the famous Kamani auditorium and that is where I experienced the charisma and beauty of one of India’s best-known Kuchipudi exponents Padma Bhushan Swapnasundari.
She was performing vilasini natyam, a form that she has been researching on. Swapnasundari is a true example of how dancing is not only about making the pretty moves and wonderful expressions, but it is also about bringing age old culture and heritage to the society. Dancers are the ones who keep the traditions alive. A dancer is an activist, a teacher, and a medium through whom stories are told and ethnicity is maintained.
Swapnasundari’s performance was true to her name. She was gorgeous, with impeccable technique, and personality, which will make you want to learn more from her. After the show, I got talking to her, and here are a few thoughts that the Padma awardee shared with me.

Q: You have learnt two forms Kuchipudi and Bharatnatyam, why these forms in specific? What interests you the most about them?
I started learning dance when I was five years old, and did not know the distinction between these dance forms or for that matter, any other dance form. I loved to dance. For a Chennai-based family like mine, Bharatnatyam lessons for a child must have been a natural choice. My entry into Kuchipudi was spurred by my father’s intense love for Telugu culture.

Q: Kuchipudi has not gained as much recognition as Kathak or Bharatnatyam. As a guru and epitome of Kuchipudi what are your efforts to popularise the form?
I disagree. Kuchipudi is as well-known today as any other classical dance-style, especially in India. By “recognition”, if you are referring to the number of schools which teach this style, it should be remembered that the “anointment” of Kuchipudi as a “classical” dance form happened many years after Bharatnatyam and Kathak were given that
status. Despite this, Kuchipudi rose to prominence rapidly, and has more than made up for lost time. Today, there are many flourishing Kuchipudi schools, especially in Andhra Pradesh. Senior exponents like me have done their bit to bring Kuchipudi to this level. Speaking for myself, I have developed a strong Kuchipudi technique and performance format, which I teach to those interested. I hope the next generation builds on the foundation thus provided. Now, I am doing similar work for the other classical dance style of the Telugu people, which is Vilasini Natyam.

Q: Today’s generation just wants to dance and learn more steps, and somewhere the history, origin and technique is forgotten. Your book World on Kuchipudi Dance was well received and so was your album Janmabhoomi Meri Pyaari. What advice you have for the young generation?
I identify well with young people primarily because I appreciate and also share their spirit of curiosity. This curiosity should lead young people towards greater understanding and knowledge. Most youngsters, including aspiring dancers look for logic and substance behind an idea or theory, instead of relying on information floating on the Internet, they would benefit more if they took to reading seriously, especially on matters that interest them. Just as an example, young dancers may gain some insights by reading my second book Vilasini Natyam — Bharatam of Telugu temple and court dancers. This book not only traces the dance history of Telugu people, but also clearly establishes the distinct place and identity of the Telugu devadasi dance form vilasini natyam, which has no relationship with the dance drama derived form that we now call as Kuchipudi. Many consider this book as being better than my earlier one on Kuchipudi.

Q: What are your projects after the wonderful performance of vilasini natyam?
I haven’t thought of that yet! Vilasini natyam continues to enrich me artistically. Intense involvement with this style has given me great personal satisfaction. Audiences across India now appreciate and respect the very same performing tradition, which they had forgotten. The students whom I have trained also get invited to give solo vilasini natyam concerts at important dance festivals. We have recently developed a successful performance package showcasing temple-rituals of vilasini natyam through group-choreography.

Q: You have won so many awards for your wonderful work. How does it make you feel winning such appreciation?
All awards and titles are like pats on the back. But they also bring more responsibility. Audiences including a whole generation of young dancers expect more from a celebrated and feted dancer. One has to live up to these expectations. I find this an exciting challenge to meet.

Q: Apart from a wonderful performer you are known for your creativity, imagination and execution of dance, if you get a chance would you choreograph a Bollywood film?
Why not? I am a classicist by training but I am not afraid to venture into new areas. Choreographing for a film would be one such area. There is some wonderful dancing talent amongst today’s young crop of actors. It would be great to work with such talent.
With legend Dr Mansingh and my gorgeous dance partner Jesse Randhawa sitting beside me, and another beautiful performer on stage, it was a wonderful evening in Delhi indeed.