Songsoptok
DANCE:
THE RHYTHM OF LIFE
SONGSOPTOK: How and why did you choose dancing as a career? What specific things would you like for
people to know about your chosen career?
JAYANTHI: Before I knew it,
dance snuck up on me. I always use this analogy that there's a vine called Wisteria and it just wraps around
trees and engulfs them slowly; that's pretty much what BharataNatyam did to me and later Kuchipudi dance. It took
me over before I knew it and I realized that dance does open the door to many
opportunities; however, there are
many other careers that dance can prepare one for...Dance shapes people, giving
them essential skills for all areas
of life. Time management, discipline,
motivation, dealing with challenges and rejection, persistence, communication
skills, teamwork, confidence and creativity are just a few character-building
traits that dance can give someone. I
chose the path of rhythm is because,
dance is the bedrock of a creative aesthetic that prioritizes truthful emotion
above all else. Dance stems from its spirituality, intricate beauty and grace.
By combining my devotion to dance, my work
reflects a high-level quality and dedication to the pure art form and I hope to
bridge the cultural boundaries and present Bharatanatyam
and Kuchipudi in a clear and enlightening manner. I was introduced to
Bharatanatyam at the age of 4 by my mother Vijaya Jayanthi, who nurtured my
early talent. She has trained under gurus, Nedunuri Krishnamurthy for Carnatic
Sangeetam andPendyala Satyabhama for
Kuchipudi Natyam in India. Thus my training in dance started before “formal”
Academics. After initial grooming in BharataNatyam under Guru, Natyakala Chakravarty
Vasanta Raman of Kalakshetra Bani, I received advanced training in
Bharatanatyam under Guru Kalyani Shekhar; niece of K.N. Dandayudhapani Pillai,
exponent of Pandanallur Bani. Thus, I
imbibed the best of both my gurus. I specialized in Abhinaya under 'Padma
Bhushan' Smt. Kalanidhi Narayanan. Later
I took Kuchipudi dance training under guru, Smt. Dr. Uma Rama Rao and did M.A.
in Kuchipudi.
SONGSOPTOK: What advice would you offer to someone just new to this field?
JAYANTHI: First I would say, be honest with yourself about your desires
and abilities, and trust those people who
give you honest feedback. Trust people that are experienced and who know dance.
Just remember that there are going to be
moments of incredible joys, highs and outstanding applause for great performance moments;. But there will
also be disappointments and devastating losses of opportunity. You have to take
it all in stride. If you want to be a dancer then you have to follow your heart
and be a dancer. Be patient and never forget that passion you have for dance. So many dancers have certain expectations,
and when they don’t achieve, frustration sets in and the passion can get lost. Also,
always have another vocation to help with the financial side of things. You can
make a lot of money dancing, but it takes time, so prepare yourself to be patient
and not give up dancing because of financial problems.
Second – the Important Qualities a Dancer must
possess: Athleticism, Creativity, Persistence, Physical
Stamina, Discipline, Be humble and above all Be Respectful and have regards for
all Gurus.
SONGSOPTOK: What are some of the common errors or misconceptions people have
about dance as a career choice?
JAYANTHI: Common
misconceptions I've heard throughout my dance career:
- Dance is only for women.
- It’s “not a real job”
- Dance is easy – does not require much effort
- "I could do that"
Dance does not discriminate based on gender,
race, sexuality, or anything, for that matter. Dance is an art form for people
who feel things on a higher level. It's for people whose sense of emotion is
heightened as well as their awareness of their body. Dance is a full body
workout as well as an intense cardio workout. Dance is as intellectual as it is
physical. To be a dancer, you must have the mental strength to push through any
amount of pain for the sake of art. Dance is easy – does not require much
effort - "I could do that" - Whenever I hear non dancers say this, I
laugh. Dancers are usually supposed to make choreography look easy, unless
otherwise instructed by the choreographer. The next time you think "I
could do that," while watching a dancer at work, trust me - You probably
can't. Genius is Simplicity. You're either born with passion for movement,
creativity and emotion in motion, or you aren't. You can be taught how to
dance, but you can't be taught how to be a dancer. I've come across a lot of
skeptics and a lot of supportive people too!
SONGSOPTOK: How would you describe your typical work week?
JAYANTHI: I teach dance and
music 5 days a week at my dance studio in Cincinnati, OH. The name of my
institute is Asian Arts Heritage, Inc. I also conduct classes through Face Time
for students living in Boston, Florida and Virginia.
SONGSOPTOK: How many hours do you set aside for your own practice, stage
show rehearsals, and choreography and costume selection?
JAYANTHI: Weekends are devoted to choreographing for upcoming performance events as and when they are
scheduled as well as for my own performance preparation. My practice sessions
are typically for 4 hours every other day, for stage show rehearsals,
Choreography and costume selection takes up 2 to 3 weeks.
SONGSOPTOK: Is there anything you strongly like or dislike about your dance
career?
JAYANTHI: The art of dance is
hard work and it takes true motivation to make it in the dance world. I love dance, dream dance. Dance keeps me
motivated, energized, fresh and happy. Dancing can be an excellent way to
release stress, tension, and express oneself in a whole new way. Being
personable and friendly, being willing to meet people, taking interest in other
artists' work, supporting the projects of others, collaborating and enjoying
and sharing what I do with the community allow for the possibilities of growing
and making connections with others. I thank God for rewarding me opportunities
throughout my career. Most all professionals have parts of their job that they
like or dislike. However, being a dancer as one’s profession has several
downsides that take a huge toll on a person. The expenses of a dancer’s
lifestyle add up due to many necessary items that a dancer requires. Unless the dancer makes a break and has a
steady job, she will not be able to pay for the countless amounts of dance
jewelries, costumes, and training. Just
to say out loud “I dance for a living” is awesome. Also, with teaching and
creating projects, it is amazing to see people achieve what they want and enjoy
the sense of movement. I would not be at
peace with my life if dance did not exist in it. To create this for others is most satisfying.
I would say that sometimes constant
traveling can be grueling. Most of the time, I end up teaching discipline and
rules instead of dance. I feel that this is the responsibility of the
parents/guardians, so it can be frustrating as a few students make it difficult
for the full class. With that said, my motto is: “A good teacher teaches what
they want. A great teacher teaches what
is necessary.” Be prepared and remember that dance career is not just a job but
a life style!
SONGSOPTOK: Should there be any age limit for beginners in dance? If you
have adult students, can you tell us what they expect to gain from their
lessons?
JAYANTHI: 4 years old is an
Ideal age for beginners in dance. Learning has no age, no limits!! All one
needs is some inspiration, passion and zeal. My adult dance students expect
that learning dance will keep both the body and the brain active which is vital
for people of every age. They also aim for flexibility, strength and to keep
muscles and joints healthy, improving their posture and gaining balance. Through
dance activity they meet new people and make friends with people who have
similar interests. Taking time out in the day to partake in dance lessons helps
them to reduce stress level in a big way! They get insight into other cultures,
either through the dance style itself or meeting new people, new career
opportunities or build vital communications skills needed in every profession.
Participating in dance also elevates self-esteem and confidence through
mastering new skills. All my adult students (non–Indians) enjoy the dance class
because Dance offers a creative outlet for them to express their personalities,
joy, in a safe environment.
SONGSOPTOK: Dance has the ability to offer its participants and spectators a
religious experience. Do you agree? If so tell us how and why? What do you
think about antagonism to dance in some religions?
JAYANTHI: Dance has certainly been an important part
of ceremony, rituals, celebrations and entertainment even before the birth of
the earliest human civilizations. Dance is present in mythology and religion
globally.
Dance
is a means of connecting to the Sacred. God loves when we dance. As per our
Shastra, entire Universe is brought into existence as the manifestation of
dance by the Supreme Dancer, Nataraja. 23 celestial beings called Apsara;
danced to please the gods and express the supreme truths in the magic of movement.
In
Hinduism dance used to be a part of a sacred temple ritual, especially in
Southern and Eastern India, where the female priestess’s devadasi's worshiped
different aspects of the Divine through an elaborate language of mime and
gestures. Natyashastra is the most ancient and the most elaborate scripture
describing every element and aspect of this sacred art-worship. The temple
dance gradually evolved into what is known today as BharataNatyam, Kuchipudi
and Odissi Dance that still preserves many ritualistic elements of Hinduism.
The
power of dance in religious practice lies in its multisensory, emotional, and
symbolic capacity to create moods and a sense of situation in
attention-riveting patterns by framing, prolonging, or discontinuing
communication. Dance is a vehicle that incorporates inchoate ideas in visible
human form and modifies inner experience as well as social action. The efficacy
of dance in contributing to the construction of a worldview and affecting human
behavior depends upon the beliefs of the participants (performers and
spectators), particularly their faith in their ability to affect the world
around them.
Dance
is an expression of joyous spirituality. I do it as something that helps my
mood. It helps my spirit. It uplifts me… Even when we are alone, we are in
company of a greater spirit. And when we dance, we embody that greater spirit
inside ourselves.
SONGSOPTOK: Do you agree that a dancer can convey intangible emotional
experiences as strongly as verbal communications? Do you agree/disagree that
dance can lead to altered states of consciousness?
JAYANTHI: Communication is a
complex area of study, a field that encapsulates the multitude ways that humans
interact with the world and, more specifically, with other humans. Humans
communicate through two main behavioral streams manifested through
verbal/linguistic forms, such as speech and text, and nonverbal forms, such as
body language and facial expression. In order to become communicative, these
verbal or non-verbal behavior must be observed by and elicit a response from
someone else. In other words either consciously or subconsciously behavior must
be heard, seen or felt by the receiver, and be followed by an exchange of
thought or action. Dance communicates ideas, stories, emotions, and moods, much
like prose and poetry. Literature often inspires dance, and dance in turn
inspires literature. My take is that, often times the dance performance does
not elicit an immediate and observable physical or verbal response, due to the
nature of the conventions of the performance venue. It is largely after the
experience, when the overall impact of the dance production can be processed,
that the residue, the feelings and
thoughts are expressed, by way of conversational discussion, body/facial expression
and overall mood. Non-verbal codification is undoubtedly significant to human
communication processes, often used instinctively and unconsciously in
emotional response situations to communicate instantly and powerfully.
SONGSOPTOK: Technique is what you fall back on when you run out of
inspiration. (Rudolf Nureyev) Do you agree with this quote?
JAYANTHI: I agree with this
quote because an artist employs the technical knowledge, skill dexterity and concentration to express the forms of
an artistic discipline. Technique refers to the proficiency by which the artist
executes the forms and performances. Technique prepares the artist for surmounting
any arising technical problems that may hinder compositional completion. In
short, Technique is the bridge between artistic conception and its physical
materialization.
PHANE
JAYANTHI SEN
currently living in Cincinnati, performs
innovative yet traditional dance works in major dance festivals in USA, India,
Hong Kong, Macau, Japan, Budapest, Vienna, and Paris and at numerous other
stages. Founded Asian Arts Heritage Inc., as Artistic Director and
Choreographer, She pursues a career as a dance therapist, movement explorer,
educator and performer. She is a member of International Dance Council - CID,
UNESCO Paris, France and member of The Ohio Arts Council, USA.
Graduate
with a Bachelor of Arts degree in History, Bachelor Degree in Early Child
Education and Masters in Fine Arts - MFA (Indian Classical Dances, Kuchipudi
and BharataNatyam.
Received
accolades at International dance festivals as an excellent dance performer and
a knowledgeable dance instructor. Received many distinguished awards and
citations in recognitions for her contribution to arts. She was awarded scholarship from the Ministry
of Human Resources Development for BharataNatyam. She’s been conferred with
titles of “Shringarmani” an award given for artistic excellence at Kal Ke
Kalakaar, Mumbai 1988, and “Natya Mayuri” Hyderabad, 1991.
As
a Cultural ambassador of India’s rich performing arts heritage, she has
traversed the globe, spreading the message of global harmony through dance
movements and melodies. She has performed extensively in Major Festivals
worldwide. Using the teachings of my renowned Gurus and learnings from her
performing experience, and has added her own flavor, flair and finesse in every
item she performs.
While
staying true to the definitions of dance in Natya Shastra, she welcomes novel
ideas, innovation, when choreographing expressions and movements to some truly
unique and challenging music in various global languages. Her instruction
emphasizes the value of an immaculate dance form. As a result, her exclusive
dance compositions bring her world-wide commendation.
***THE INTERVIEW WAS TAKEN BY RIMI PATI
We sincerely
thank you for your time and hope we shall have your continued support.
(Songsoptok)
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