A straight-from-the-heart response from dancers and curators on their vision for dance
Rama Vaidyanathan
Bharatanatyam exponent
“My vision for dance this year is to bring it back to stage; in front of a live audience. I am also hoping that when dance returns full-fledged to stage, it is enriched and nuanced, thanks to the pandemic that allowed us the luxury of time to engage with the camera, understand its dynamics, and become technologically savvy overall.
So I am looking forward to dance that is an enhanced version of the way it used to be in terms of presentation – better stage settings, improved sound and light design, costumes that communicate, et al.
What I am also hoping is to see dance unfurl in its full-fledged format. While it is true that the one-minute format, that gained momentum during the pandemic, allowed a host of people unfamiliar with the classical art form and those uninitiated access it, I wish earnestly that dance returns to where it belongs; in a full-length format that allows articulation and extrapolation.
My desire is that by virtue of accessing these short bursts, we have cultivated a new audience that is willing to embrace dance and patronise it in its true format, that is beyond the realm of the two-minutes-of-magic that seems to have taken over our screens. I hope more people shed the comfort of the screen and make their way to watch full-length performances in the comfort and beauty of the proscenium.
Amongst other things, the pandemic also allowed us – performing artistes, the luxury of time to read, introspect, and create work without the pressure of a deadline. So I hope that the performances that unfold this year are organic and authentic. I’m looking forward to work that has truly marinated over several months and therefore is a culmination of thought, rigour and beauty.”
Ranee Ramaswamy & Aparna Ramaswamy
Bharatanatyam dancers-choreographers, Co-Directors, Ragamala Dance Company, Minneapolis, Minnesota, USA
“Through our Bharatanatyam practice, we engage the dynamic tension at the intersection of tradition and innovation, ancestral wisdom and creative freedom. Our work ranges from margams to large-scale works. Through meaningful collaboration and multi-layered dialogue with composers, musicians, authors, scholars, designers, and visual artists, we create layers of metaphor that explore the saturation of the senses that occurs when these art forms come together.
Since 1984, we have returned to Chennai every year to study and perform under our guru, Padmabhushan Smt Alarmel Valli while creating our own body of work in the US. This immersive training in our guru’s aesthetic and lineage has formed the bedrock of our creative vision. I founded Ragamala Dance Company in 1992 out of a deep desire to see our cultural forms recognized on major US stages.
In 2022, we will continue to create projects in close collaboration with artists across genres. The pandemic has forced us each to work in isolation, but our Indian artistic traditions have a long and splendid history of growing together, intertwining to make a greater whole. This spirit of collaboration is necessary in our world, and shows us that our work together must be intentional and meaningful in order for us to share the rich complexity that our forms deserve.
The pandemic has shone a light on many critical issues facing our local communities and our larger world. These provide immediate and obvious material for new pieces, but is it the most effective or lasting way to explore our humanity? In our work, we keep returning to our ancient epics, stories, and poetry. The wisdom of these literary traditions acts as a portal between past and present, providing a contemporary resonance that nourishes us and speaks to the human condition now and forever.”
Dr Shovana Narayan
Kathak Exponent, Creative Director and Producer
“The negation of social and cultural sensibilities of traditional India by the colonial masters, ignited a spirit of nationalism. In the last 100 years, the world of classical dance became witness to yeoman changes. There was emergence of new streams of classical dance from the kernels of ancient local traditions, some amalgamated to form a new language of dance, but all incorporating a ‘margam’ with structured tiers of presentation and Sanskrit terminologies linking them to the awakened sensibilities of ancient shastras.
In the last century we have come a long way: from the point of awareness and embracing of traditions, to giving voice to abstract, secular, contemporary social issues, sometimes in lieu of old classical themes centering round Puranic legends and sometimes creating a new language of dance itself. The latter is welcome for it has shown maturity and a sense of comfort and willingness to embrace new ideas and thoughts. At the time of Indian independence, the four recognized classical dance forms have today swelled to eight in number.
There is a growing voice for various regions to include their newly ‘structured’ or newly ‘discovered’ localized regional form to be accepted as ‘classical’ or a ‘major dance tradition’ (the official term of the government). While this is welcome, yet it displays mushrooming of ‘new’ dance streams. Only time will tell how many will survive.
Similarly, with the phenomenal reach of the electronic media and the big screens, combined with change in lifestyle that breathes’ fast pace’ to the point of being ‘spectacular’ in character, quick revenue earning models have set new paradigms. Dancers have taken license to improvise and modify in such a manner that it is difficult to see the essential features or spirit of the parent dance form. The problem lies in tagging the name of the original art form to their licentiously developed new styles with marketing jargons proclaiming such ‘new’ styles within the so-called ‘classical’ framework. They seem to be disturbingly on the rise, especially in the field of Kathak. This is affecting, modifying and contaminating the way the general audience think and behave who, used to ‘fast food’ culture, want to see the same in the cultural sphere in the name of ‘appreciation of classical art’.
Concerted efforts in stepping up the appreciation of actual ethos of classical arts is required urgently with the involvement of all sectors, especially the corporate as classical needs patronage for its preservation and survival – besides the government and private players who are doing their best. There has to be an increased understanding of the need of good classical art for ensuring development of healthy and well informed citizens with ability to discriminate between the essence and the chaff. It is of no use to wail over spilt milk and decry the way the younger generation is heading.
However, nothing lasts – for change is a constant. While evolution is necessary to ensure growth and non-stagnation of the art form as the last century and a half has shown, similarly time is bound to find a sense of harmony between the two worlds!”
Swapnokalpa Dasgupta
Odissi dancer-choreographer, Head of Programming, Dance Division, NCPA, Mumbai
“The magic of the arts has always found ways to flourish even in the darkest of times. With every great churning like the Renaissance, the great wars, political uprisings, freedoms movements, art has always been able to derive new energy from chaos and opened new doors and this time around our new door is the online medium, which was lying somewhat unnoticed on our way towards the physical performance stage.
The limelight was suddenly moved to this new play area. Some of us leaped in and started experimenting right away; some of us just walked around quietly perceiving this new space and just like two years have passed and here we are with a new performance arena that will now always be there.
The numerous social networking platforms have been instrumental in starting a new era of entrepreneurship in arts management, where revenues and budgets are not curtailing one’s performance opportunity or their interest in hosting dance festivals.
Like every other thing in life, this also has its positives and negatives. In a few decades we can all come back and analyse where we went wrong! Of course we would. Is that not what we always do? But for now let’s just be happy that we have a new baby!
The pandemic has made us realise things that we almost took for granted. It gave us an opportunity to stop and get a bird’s eye view of our field helping in objectively reviewing our work as a community. What have we done to create audiences for our artforms? How does the general public perceive dance? In this fast paced life, how do we still connect to dance and how does dance find its way back to us if we have lost touch? How do we re-dance? The pandemic saw many amateur dancers making dance videos on social media. When the dancer in me might have raised eyebrows analysing the stance or movement demonstrated by an amateur, the arts manager in me was looking at probable core audiences and possibilities of reconnecting with the dancer that lies in all of us. Is dance more enjoyable when we dance? Are we all along undermining the power of the process as we lay our thoughts and minds to the presentation and skill development of a performer? As I surfed through the numerous micro groups on Facebook huddled around a community builder using dance as a tool to connect within and around, I wondered how we can navigate that energy and build more auditorium going audiences, more inclusion of dance dropouts and lastly more philanthropists who truly feel the need of this art being promoted. This is where our audiences lie and this exactly like the social media platforms were there in front of us, but just that we did not pay much attention.
To me the way forward would be to be more inclusive. To encourage more movement and dance as opposed to only viewing. A guided immersion into the process would create more audiences for our forms and the more we dance the more we will want to see dance – we will talk dance, walk dance and breathe dance. The process is our greatest USP !”
COVER STORY Three costume designers Lakshmi Srinath, Sandhya Raman and Mohanapriyan Thavarajah from Chennai, Delhi and Singapore respectively, share their process, insights and views on designing and creating costume for dance and dancers Lakshmi Srinath “My interest in costume grew organically as a result of my passion and career as a visual artist” “My interest ... Read more
COVER STORY Into the Music of Dance Our Cover story this edition features three musicians and music composers for dance from India, who share their experiences of making music for dance SUDHA RAGHURAMAN Carnatic Vocalist, Composer and Music Arranger What is that characteristic aspect that differentiates composing music for dance and composing music in general? ... Read more
COVER STORY Master Weaver of Magic Raising a toast to Aravinth Kumarasamy, Artistic Director of Apsaras Arts, as he receives one of the most prestigious accolades for arts practitioners in Singapore – the Cultural Medallion… In the first week of December, Apsaras Arts Artistic Director Aravinth Kumarasamy, the man who needs no introduction to the ... Read more
Cover Story Dance of the Camera What happens when dance is on film? Do things shift for the artiste and choreographer when they are being seen through the camera’s eye? How do they negotiate this medium to create a work-of-art that is authentic to the dance and to cinema? Three senior Bharatanatyam artitses – Aravinth ... Read more
COVER STORY Privilege, possibilities and experiences… We reached out to six Bharatanatyam male artistes from across the globe and asked them a common set of questions to feel enriched with a plethora of ideas and insights on inclusivity, gender-neutrality, exploration and experimentation, research and expression and about the beauty of art and how it enables ... Read more
COVER STORY Let’s Talk Conservation Two young and talented Bharatanatyam artistes, Mahathi Kannan and Manasvini Ramachandran, share their interest, journey in working with the tangible and intangible in the arts… An interview Qus : What has been your fascination with the idea of heritage? When did you know that you wanted to study it formally ... Read more
Presented by National Heritage Board of Singapore on 10th December 2020 Acceptance speech by Aravinth Kumarasamy, Artistic Director of Apsaras Arts Dance Company. “Dear Guest of Honour, Minister of Culture, Community and Youth, Mr. Edwin Tong, Ms. Yeoh Chee Yan, Chairman of NHB, and Ms. Chang Hwee Nee, CEO of NHB. Good afternoon. Receiving this ... Read more
Special Feature by Mohanapriyan Thavarajah “From the forest of his matted locks, water flows and wets his neck, on which hangs the divine snake like a garland, and his drum incessantly plays damat, damat, damat, damat.” Thus, Shiva is engaged in a very vigorous Tandava dance, to bless and shower, prosperity on the entire universe. ... Read more
AMARA: Dancing the Stories of Banteay Srei Inspired by the legends and the stories carved in its bas reliefs of the enchanting temple of Banteay Srei, this dance production brings to life the female divine Yoginis of the temple, which was once called the “citadel for women.” Apsaras Arts Dance Company is proud to present ... Read more
Over the months of May to July, Soumee De, Odissi faculty of Apsaras Arts, curated a series of webcast session for dance students, performers and teachers by inviting scholars, researchers and experts to share their practice, knowledge and experiences over an interactive dialogue. Over 10 episodes on Friday evenings, this series featured eminent speakers on ... Read more
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T Ramanan started learning mridangam at the age of 12 from the late Sri R Thangavelu of Kuala Lumpur. In 1981, he joined the Singapore Indian Fine Arts Society and studied under the loving care of Sri Karaikudi R Krishnamurthy. Ramanan passed his mridangam final examination conducted by the Society in June 1984 with distinction and was awarded a certificate of merit. This was followed by his arrangetram during Sri T V Sankaranarayanan’s concert in July 1984.
Ramanan has been performing regularly since 1981 and has accompanied many accomplished musicians and dancers, both locally and abroad. To date, he has provided mridangam accompaniment for more than 350 Bharatanatyam arangetrams.
Shivangi started her Kathak journey under the tutelage of guru Dr. Sadhana Naphde in Nagpur, India. She reached her first milestone when she was awarded a National Scholarship in the field of Kathak by Ministry of Tourism and Culture, Government of India and received intensive training under the able guidance of Guru Smt. Shama Bhate. Over the years, Shivangi has had the privilege to learn from the legend, Padmavibhushan Pt. Birju Maharaj, in numerous workshops and she has also been a part of Maharajji’s various choreographies for live performances and television. She has successfully completed her Visharad and Alankar in Kathak from Gandharva Mahavidyala and Master of Fine Arts (specialisation in Kathak). She is the recipient of various awards such as,”Nritya Kala Praveena” by Samskar Bharati, Hyderabad, “Nritya Shri” by Kiran Sanstha, Katni, M.P, Winner of National level Inter University Youth Festival of India for 2 consecutive years, “Nritya Kala Nipun” by Nalanda Dance Research Centre, Mumbai, ” Pt.V D Paluskar Award ” winner by Sharada Sangeet Vidyalaya, Mumbai. She has given numerous solo performances in India, Singapore, Malaysia, Reunion Islands, Japan & USA. Shivangi is passionate about imparting her art to young and old alike instilling them a love for beauty, grace and excellence.
Mohanapriyan Thavarajah has been the Resident Choreographer and Principal Dancer with Apsaras Arts since 2012.
Originally from Batticaloa, Srilanka, he has completed his Bachelors & Masters in Fine Arts (2005-2012) at) at Kalai Kaviri College of Fine Arts, affiliate of Bharthidasan University, India under the tutelage of Ogeswari Shanmuganathan (Alumni of Kalakshetra Foundation, and has earned his MPhil (2014-2016) from Tanjavur Tamil University, India. His MPhil dissertation researched Cambodia’s Angkor Wat from a dancer’s perspective. A book on this is currently in the midst of being published. He is currently pursuing his PhD on the study of the influence of the roots of Indian culture and religion in Indonesian & Thai dance forms. Besides being a Bharatanatyam practitioner and researcher, he has also been trained in Kuchipudi under the tutelage of Kishore Mosalikanti. Today, he is being mentored by the renowned Bharatanatyam dancer, Priyadarshini Govind.
Since 2007, Mohanapriyan has received numerous awards and titles such as “Narthana Vithakan” and “Bharatha Kala Mani” for his performance proficiency in Bharatanatyam from various organisations in India, Sri Lanka and Singapore. He has received significant critical acclaim for his imaginative and innovative choreography for both his ensemble and solo work that bring together the traditional vocabulary of the tenants of Bharatanatyam while retaining a vitalized interpretation and relevance to modern audiences. His in-depth research and deep understanding of South East Asian dance traditions has also made him a gifted & comprehensive designer of production costumes, headgear, jewelry and makeup. His deep aesthetic sense and creative knowledge in craft and design has enabled him to create spellbinding visual spectacles for many Apsaras Arts productions. Mohanapriyan has presented many dance research topics at seminars and workshops and is a well-regarded mentor and sought-after teacher for many young & upcoming dancers in France, USA, India and Singapore.
Vijaya Nadesan has been a senior student and performer of Apsaras Art for the past 30 years and now specializes in Arts Education programs for schools. She started her formal Bharatanatyam training in 1987 under the tutelage of the Cultural Medallion Recipient, Mrs. Neila Sathyalingam. During her two decades of dancing, she has performed with People’s Association (1990-2000) and have gained experiences in Multi Ethnic, Folk and Contemporary dance forms. Her Arangetram in 1999 was a culmination of her varied experiences in ensemble work. She has been part of many travelling dance productions overseas – China, Australia, South Africa, Sri Lanka, India representing Singapore’s multi-ethnic dances. Today, she is overall in-charge of overseas productions and overseas project financing, vendor management, logistic and rehearsal scheduling. Over the decades, she has developed coaching and mentoring skills of varied Indian dance forms in schools and has helped schools achieve awards for schools at the Singapore Youth Festival. She has also cultivated a keen interest in teaching the traditional dance form to non-indian dancers in schools. Her teaching method involves interacting closely with students and meticulously creating structured learning techniques for her students which has helped her create innovative choreography.
Seema Hari Kumar began her journey in dance at the age of eight under the tutelage of Mrs Neila Sathyalingam and has been a teaching faculty member for over 17 years. She has performed in over 15 National Day Parades and Chingay Processions under the banner of the People’s Association and has collaborated on various national-level events with the Singapore Multi-Ethnic Dance Ensemble (SMEDE). Besides being on the dance ensemble of all Apsaras Arts’ local productions such as Aarupadai, Aalam, Nirmanika, Heroines of Raja Ravi Varma etc. since 2001, Seema has also taken the global stage with the Company at international arts festivals in Australia, Bali, Cambodia, India, South Africa, Thailand, Liverpool and Vietnam. Apart from performing, Seema has also expanded her portfolio to include choreography and teaching. She has assisted in the choreography and mentoring of schools during the Singapore Youth Festivals in 2004-2006. In 2011, she was also identified as a mentor-choreographer on Vasantham Central’s “Salangai Oli” programme where she mentored and choreographed the items performed by the finalist in the competition. Besides her dance career, Seema majored in Political Science, graduating with a Bachelor of Arts (Honours) from National University of Singapore in 2006 and works in the events management industry.
Shivangi started her Kathak journey under the tutelage of guru Dr. Sadhana Naphde in Nagpur, India. She reached her first milestone when she was awarded a National Scholarship in the field of Kathak by Ministry of Tourism and Culture, Government of India and received intensive training under the able guidance of Guru Smt. Shama Bhate. Over the years, Shivangi has had the privilege to learn from the legend, Padmavibhushan Pt. Birju Maharaj, in numerous workshops and she has also been a part of Maharajji’s various choreographies for live performances and television. She has successfully completed her Visharad and Alankar in Kathak from Gandharva Mahavidyala and Master of Fine Arts (specialisation in Kathak). She is the recipient of various awards such as,”Nritya Kala Praveena” by Samskar Bharati, Hyderabad, “Nritya Shri” by Kiran Sanstha, Katni, M.P, Winner of National level Inter University Youth Festival of India for 2 consecutive years, “Nritya Kala Nipun” by Nalanda Dance Research Centre, Mumbai, ” Pt.V D Paluskar Award ” winner by Sharada Sangeet Vidyalaya, Mumbai. She has given numerous solo performances in India, Singapore, Malaysia, Reunion Islands, Japan & USA. Shivangi is passionate about imparting her art to young and old alike instilling them a love for beauty, grace and excellence.
Soumee De is a dancer, teacher and choreographer who has been training in Indian Classical dance forms- Kathak and Odissi, since the age of four. Soumee is a disciple of Guru Ratikant Mohapatra at Srjan, Bhubaneswar, India and currently an Odissi faculty at Apsaras Arts, Singapore. She is a co-founder of “Ethos -Exploring the Odissi Spirit,” a community of Odissi dancers in Singapore and recently hosted a series of Odissi related educational webcasts “ODE” featuring global scholars, dancers and teachers for holistic learning of dancers. She is the editor of Aavartana monthly newsletter published by Apsaras Arts and actively blogs in social media as a dance reviewer with the vision of growing the growing its appreciation beyond the boundaries of communities, borders, generations. Soumee also offers “Dance-telling” programs at The Artground and volunteers as a “Balvikas” teacher at Temple of Fine Arts for preschool young children. Among the recent performances, she was featured as a solo artiste at the Dance India Asia Pacific showcase by Esplanade Theatres on the Bay; performed in a new collaborative work “Kanna Va” by IndianRaga and Apsaras Arts in September 2020; conducted a workshop on “Ramayana through Odissi and Puppetry” at the Digital Culture festival by Indian Heritage Center; staged her new choreography “Ritu Ranga” at the Artwalk Little India Festival in January 2020-2019; “River Ramble” at the Stamford Arts Center opening by NAC in 2019; “Phenomenal Women” on International Women’s Day at The American Club and performed a full length solo repertoire at “Tribhanga” in the Darshana Intimate Dance Series by Apsaras Arts. She is an Economics graduate, completed an MBA in Human Resources and works as a management consultant to create a “better working world.”
Gayathri Chachithanandar holds a First class – Post graduate Diploma from Kalakshetra Foundation where she graduated as the “Best Overall Student” in both Bharatanatyam and Carnatic Vocal disciplines in 2009. Hailing from Srilanka, she gained her initial training with Smt. Haridevi Jayasundara school of Fine Arts and North Ceylon Oriental Music Society. She also underwent advanced Bharatanatyam training under the tutelage of Sri. Sheejith Krishna, co-founder of Sahrdaya Foundation, Chennai, India.
As an accomplished teacher of 10 years, Gayathri has taught at Sahrdaya Foundation and at Singapore Indian Fine Arts Society (SIFAS). As a performer, she has performed all over the world, both solo and as part of ensemble productions in India, Srilanka, Singapore, Mauritius and Reunion Islands. Apart from Bharatanatyam, Gayathri’s excellent qualifications in Carnatic Vocals, Mridangam and Nattuvangam have made her unique teacher, able to impart not only the knowledge of the divine dance form but also teach the other building components of Dance, such as Music, Culture and Language.
Soumee De is a dancer, teacher and choreographer who has been training in Indian Classical dance forms- Kathak and Odissi, since the age of four. Soumee is a disciple of Guru Ratikant Mohapatra at Srjan, Bhubaneswar, India and currently an Odissi faculty at Apsaras Arts, Singapore. She is a co-founder of “Ethos -Exploring the Odissi Spirit,” a community of Odissi dancers in Singapore and recently hosted a series of Odissi related educational webcasts “ODE” featuring global scholars, dancers and teachers for holistic learning of dancers. She is the editor of Aavartana monthly newsletter published by Apsaras Arts and actively blogs in social media as a dance reviewer with the vision of growing the growing its appreciation beyond the boundaries of communities, borders, generations. Soumee also offers “Dance-telling” programs at The Artground and volunteers as a “Balvikas” teacher at Temple of Fine Arts for preschool young children. Among the recent performances, she was featured as a solo artiste at the Dance India Asia Pacific showcase by Esplanade Theatres on the Bay; performed in a new collaborative work “Kanna Va” by IndianRaga and Apsaras Arts in September 2020; conducted a workshop on “Ramayana through Odissi and Puppetry” at the Digital Culture festival by Indian Heritage Center; staged her new choreography “Ritu Ranga” at the Artwalk Little India Festival in January 2020-2019; “River Ramble” at the Stamford Arts Center opening by NAC in 2019; “Phenomenal Women” on International Women’s Day at The American Club and performed a full length solo repertoire at “Tribhanga” in the Darshana Intimate Dance Series by Apsaras Arts. She is an Economics graduate, completed an MBA in Human Resources and works as a management consultant to create a “better working world.”
Mohanapriyan Thavarajah has been the Resident Choreographer and Principal Dancer with Apsaras Arts since 2012.
Originally from Batticaloa, Srilanka, he has completed his Bachelors & Masters in Fine Arts (2005-2012) at) at Kalai Kaviri College of Fine Arts, affiliate of Bharthidasan University, India under the tutelage of Ogeswari Shanmuganathan (Alumni of Kalakshetra Foundation, and has earned his MPhil (2014-2016) from Tanjavur Tamil University, India. His MPhil dissertation researched Cambodia’s Angkor Wat from a dancer’s perspective. A book on this is currently in the midst of being published. He is currently pursuing his PhD on the study of the influence of the roots of Indian culture and religion in Indonesian & Thai dance forms. Besides being a Bharatanatyam practitioner and researcher, he has also been trained in Kuchipudi under the tutelage of Kishore Mosalikanti. Today, he is being mentored by the renowned Bharatanatyam dancer, Priyadarshini Govind.
Since 2007, Mohanapriyan has received numerous awards and titles such as “Narthana Vithakan” and “Bharatha Kala Mani” for his performance proficiency in Bharatanatyam from various organisations in India, Sri Lanka and Singapore. He has received significant critical acclaim for his imaginative and innovative choreography for both his ensemble and solo work that bring together the traditional vocabulary of the tenants of Bharatanatyam while retaining a vitalized interpretation and relevance to modern audiences. His in-depth research and deep understanding of South East Asian dance traditions has also made him a gifted & comprehensive designer of production costumes, headgear, jewelry and makeup. His deep aesthetic sense and creative knowledge in craft and design has enabled him to create spellbinding visual spectacles for many Apsaras Arts productions. Mohanapriyan has presented many dance research topics at seminars and workshops and is a well-regarded mentor and sought-after teacher for many young & upcoming dancers in France, USA, India and Singapore.
Seema Hari Kumar began her journey in dance at the age of eight under the tutelage of Mrs Neila Sathyalingam and has been a teaching faculty member for over 17 years. She has performed in over 15 National Day Parades and Chingay Processions under the banner of the People’s Association and has collaborated on various national-level events with the Singapore Multi-Ethnic Dance Ensemble (SMEDE). Besides being on the dance ensemble of all Apsaras Arts’ local productions such as Aarupadai, Aalam, Nirmanika, Heroines of Raja Ravi Varma etc. since 2001, Seema has also taken the global stage with the Company at international arts festivals in Australia, Bali, Cambodia, India, South Africa, Thailand, Liverpool and Vietnam. Apart from performing, Seema has also expanded her portfolio to include choreography and teaching. She has assisted in the choreography and mentoring of schools during the Singapore Youth Festivals in 2004-2006. In 2011, she was also identified as a mentor-choreographer on Vasantham Central’s “Salangai Oli” programme where she mentored and choreographed the items performed by the finalist in the competition. Besides her dance career, Seema majored in Political Science, graduating with a Bachelor of Arts (Honours) from National University of Singapore in 2006 and works in the events management industry.
Gayathri Chachithanandar holds a First class – Post graduate Diploma from Kalakshetra Foundation where she graduated as the “Best Overall Student” in both Bharatanatyam and Carnatic Vocal disciplines in 2009. Hailing from Srilanka, she gained her initial training with Smt. Haridevi Jayasundara school of Fine Arts and North Ceylon Oriental Music Society. She also underwent advanced Bharatanatyam training under the tutelage of Sri. Sheejith Krishna, co-founder of Sahrdaya Foundation, Chennai, India.
As an accomplished teacher of 10 years, Gayathri has taught at Sahrdaya Foundation and at Singapore Indian Fine Arts Society (SIFAS). As a performer, she has performed all over the world, both solo and as part of ensemble productions in India, Srilanka, Singapore, Mauritius and Reunion Islands. Apart from Bharatanatyam, Gayathri’s excellent qualifications in Carnatic Vocals, Mridangam and Nattuvangam have made her unique teacher, able to impart not only the knowledge of the divine dance form but also teach the other building components of Dance, such as Music, Culture and Language.
Chitra Pubalan has learnt Bharatanatyam since the age of five. She started her journey at Usharani Subramaniam School of Dance in Singapore and completed her Arangetram in 2002. In 2006, she joined Apsaras Arts under the tutelage of Srimathi Neila Sathyalingam. She has had the privilege of performing in various venues across Singapore, participating in stage productions and been part of international dance tours to India, Australia and London. Besides teaching and performing, Chitra graduated from National Institute of Education (NIE) with a post graduate diploma in education. Today, she combines her dance teaching while being a baking entrepreneur and raising her young daughter.
V Loganayaki Govindarajan has been a student turned performer and teacher in Bharatanatyam under the tutelage of Cultural Medallion Singapore Legend Smt. Neila Sathiyalingam since 1992. She completed her Diploma in Bharatanatyam and Arangetram in 2008, after years of intensive local and international trainings and performances. She had the rare opportunities to learn and perform with distinguished Apsaras senior students/alumni like V. Balakrishnun, Kavitha Krishnan, Vijaya Nadesan, Nagaletchumi Balasubramanian, Selvi Radhakrishnan and the Kesavan Sisters: Jayanthi and Suganthi. Beyond Singapore, she has also worked in productions by Ajith Bhaskar, Geethashankaran Lam, Sri Nimal Raj as well as Neha Mondal Chakrabothy from Malaysia. She has also completed training in vocal music under the tutelage of Eelanallur Sri Sathiyalingam, late Co-Founder of Apsaras Arts Singapore, Sri Sampagodu Vignaraja, Founder of Surya Global Music Academy Bangalore, India and music together with nattuvangam classes under the tutelage of Sri Nimal Raj, Natya Rajyam, Kuala Lumpur, Malaysia. She holds a BA in Psychology and enjoys working with children and grooming them into responsible individuals. She has a love for yoga, communal cooking and advocating green practices.
Vijaya Nadesan – Academy Principal
Vijaya Nadesan has been a senior student and performer of Apsaras Art for the past 30 years and now specializes in Arts Education programs for schools. She started her formal Bharatanatyam training in 1987 under the tutelage of the Cultural Medallion Recipient, Mrs. Neila Sathyalingam. During her two decades of dancing, she has performed with People’s Association (1990-2000) and have gained experiences in Multi Ethnic, Folk and Contemporary dance forms. Her Arangetram in 1999 was a culmination of her varied experiences in ensemble work. She has been part of many travelling dance productions overseas – China, Australia, South Africa, Sri Lanka, India representing Singapore’s multi-ethnic dances. Today, she is overall in-charge of overseas productions and overseas project financing, vendor management, logistic and rehearsal scheduling. Over the decades, she has developed coaching and mentoring skills of varied Indian dance forms in schools and has helped schools achieve awards for schools at the Singapore Youth Festival. She has also cultivated a keen interest in teaching the traditional dance form to non-indian dancers in schools. Her teaching method involves interacting closely with students and meticulously creating structured learning techniques for her students which has helped her create innovative choreography.