Today we’d like to introduce you to Srilatha Singh
Hi Srilatha, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?
I learned Bharatanatyam as a youngster in India, initially teaching myself the moves by merely watching programs, but then formally learning from eminent Gurus Dhananjayans, Kalyani Shekhar and Ambika Buch. Dance was a passion, which took a backseat to my academic career and professional life as a Quantitative investment analyst. I did not foster it as much and as actively as I would have liked until my daughter came into my life. In wanting to have her appreciate and enjoy the intricate and nuanced vocabulary of Indian classical dance I rediscovered my zeal for the art form, and have thoroughly enjoyed expanding my boundaries in terms of presenting, choreographing, collaborating, creating and importantly teaching the detailed aesthetic underlying our classical dance. It is a disciplined and demanding dance form but every so often so you see a child or two suddenly realise what they are trying to express, inside and out… That is a joy to behold.
We all face challenges, but looking back would you describe it as a relatively smooth road?
The tutelage of Indian classical dance in the diaspora is often viewed as a medium to become familiar with one’s roots, to learn mythology, religion, philosophy and literature, a sort of all-in-one. The challenge lies in teaching all of this along with an appreciation for the artistry and technique that is inherent to the art form in a cultural substrate that is not necessarily the most suited – students are overwhelmed by these multi-dimensional aspects along with the rigor of learning. The exoticization of our art form, often leads to a superficial appreciation of Bharatanatyam by students and audiences alike, focusing on its visual appeal, the silk costumes, the splendid jewellery, rather than its deeper elements. This obscures the inward journey that is a must for a dance student and can result in audiences missing out on the rich narratives embedded in the dance. We are constantly struggling to bridge this gap with both our diaspora and the mainstream audiences of Utah.
Appreciate you sharing that. What else should we know about what you do?
I am the founder and artistic Director of Chitrakaavya Dance which was founded as a non-profit on April 28th World Dance Day, in 2014. I have an inherent love for poetry and the poetic is imbued in my love for dance and indeed Chitrakaavya Dance stands for ‘Movement as visual poetry’. Along with my fascination with geometry inherent in Bharatnatyam, my choreography is always drawn to using the vivid imagery and layered narratives that poetry conveys. Over the years I have become fascinated with ensemble choreography – the give and take and the sharing of space with other dancers, the synchrony and unexpected dissensions, and in lighting design ( shout-out to Ashton Pease). Our most recent original full length choreography was ‘From Cauvery to Colorado – a river runs through it’, in which we collaborated with Lake facing poet Nan Seymour and music thanatologist Catherine DeLong to celebrate and highlight diverse cultural attitudes towards rivers, lakes, and bodies of water, with a special tribute to our Great Salt lake. Chitrakaavya Dance has consistently been supported by the Utah Arts and Museums, the Salt Lake City Arts Council and the Salt lake County ZAP grants for which we are truly grateful. We were honored to receive the Salt lake City Mayor’s Artist Award in 2023. We also present master artistes of international repute to inspire our students and audiences.Innovating on the firm foundation of tradition, I endeavor to craft an experience for our audiences, where they can be entertained, elevated and accompany us a journey of reflection and wonder.
Where do you see things going in the next 5-10 years?
Social media has had and will continue to have a profound impact on the pedagogy of Bharatanatyam, bringing both opportunities and challenges.Platforms like YouTube, Instagram, and Facebook have made Bharatanatyam more accessible to a global audience. The public nature of social media creates pressure on teachers and performers to constantly showcase their progress and achievements. This can lead to a focus on performance over practice and learning. The popularity of social media has driven the commercialization of Bharatanatyam, where the focus shifts towards creating content that garners views and likes rather than preserving authenticity and depth of the art form. One also wonders whether the under two minute clips effectively reduce the audience attention span and create hurdles for supporting the long form concert. On the positive side, social media has encouraged innovation, collaboration and creativity. Collaborating with artists from different genres, being inspired by artists from across the globe, and presenting Bharatanatyam in contemporary contexts, will help to keep the tradition relevant.
Pricing:
- Monthly fees vary from $75 and up
Contact Info:
- Website: https://www.chitrakaavyadance.org/
- Instagram: https://www.instagram.com/chitrakaavya_dance/
- Facebook: https://www.facebook.com/chitrakaavyadance
