Dr Anita Ratnam: ‘Madurai is the OG city that never sleeps’

Anita Ratnam in performance. Pics courtesy/Anita Ratnam; Chella

In the seventh century, Andal, a mystic poet in Tamil Nadu wrote 173 verses. The first 30 - revolving around family life, children, timely rains, good harvest and agriculture were called Tiruppavai, which she penned at the age of 12. The rest of the lesser-known 143 verses, called Naachiyar Tirumozhi (sacred songs of the lady), are filled with sexual passion. She wrote these at the age of 17.

This week, Dr Anita Ratnam, Sangeet Natak Akademi awardee, celebrated Indian classical performer, and founder of global Indian dance portal Narthaki.com, will perform her fifth work on the elusive writings of Andal in Nachiyaar Next at a BKC venue. The danseuse will present a dance-theatre ode to the poet using Neo Bharatam - an approach that braids her interests in Bharatanatyam, Mohiniattam, Kathakali along with the meditative arts like Yoga and Tai Chi - chanting and music in an all-female ensemble.

The earthy-red-toned costumes are made of sungudi, coming from Srivilliputtur, a small town near Madurai. "Did you know Madurai was called Toonga Vanam, ‘The city that never sleeps,' well before Bombay earned that title," Ratnam smiles, sharing a delightful historic anecdote.

Edited excerpts from the interview.

MID-DAY: Tell us about Andal.

Anita Ratnam: Andal means the one who ruled the Lord's heart in Tamil. She was found in a Tulsi garden next to a Vishnu temple. A childless garland maker called her Goda, which means beautiful garland. The elusive verses lean toward sexual passion. Andal writes: ‘Rain, become my kisses and shower my kisses on the Lord'; ‘Creepers become my arms and hug him tightly'; She asks the conch, ‘please tell me how do Krishna's lips taste? Do they taste like camphor? Do they taste like the sap of lotus?' There is urgency and sweetness and vulnerability of this amazing young poet that the rest of India doesn't know about.

There have been women's voices throughout our culture including Lal Ded of Kashmir in the 14th century, Mirabai of Rajasthan in the 16th century, and even the Marathi Varkari poets in the 14th century, including Sant Sakubai and Jana Bai. Here is Andal in the 7th century, almost 800-900 years before the Bhakti movement.

The piece has an English translation to introduce urban, younger audiences to the poet and her verses. It is my conscious attempt to bring the lives and stories and characters of women who are either cardboard cutouts, silhouettes or one-dimensional characters. These include mystic poet like Andal or even the women in the Ramayana like Manthara, Ahalya, Kaikeyi and Soorpanakha.

MD: What does the city mean to you?
AR: Bombay has been both a delight and a challenge for me. The cosmopolitan city doesn't have one core pocket. Areas like South Bombay to Bandra, Andheri, Ghatkopar and Borivli respond differently. The challenge is in drawing people's attention. Bombay is also about distances and the demand on people's time. It takes more effort to draw in crowds here.

MD: How feasible is it to be a dancer in India?
AR: In India, the business model or the economics of dance, still rests only on teaching, not performing. The dancer stands in the centre of an entire ecosystem that she is paying - tailor, musician, rehearsals, transport, etc. She/ He is the last person to be paid. Organisers have to recognise the reality that dance is the most expensive of the arts to sustain and produce.

Nobody is concerned if a musician or a writer has gained weight. But a dancer's visual is the first impression. Even in a world where body shaming is looked down upon and there is an embrace of diversity, a dancer must invest in health and fitness to be able to move well. But the system is not supportive. If you want to continue performing, you need a wealthy patron, family or partner to support it. I have had prior conversations on the same with Aditi Mangaldas and Malini Kashyap. Most of us have to go overseas to teach and conduct workshops, to afford that lifestyle in India. It is a sorry situation. The diaspora has been so generous, especially in North America.

MD: Who are your favourite artists in Mumbai?
AR: I love Vaibhav Arekar and Darshana Jhaveriji. Late Kanakben Rele of Nalanda Institute in Juhu was my manasika guru. I make it a point to meet Kalyan Sundaram sir and his son. A few years ago, I really enjoyed watching Jhelum Paranjpe's performance. Among the newer dancers, I follow the works of Kirtana Ravi, Gautam Marathe, Isha Pingle and Odissi dancer Swapnokalpa Dasgupta, who is the Head of Dance-Programming at NCPA. I met Mumbaikars, Jerry Pinto and Shanta Gokhale at a literature festival where they spoke about the city.

MD: ...And your favourite food in Mumbai?
AR: I am a big street food junkie - especially the Bombay toast sandwich with
chutney, vada pav and the bhel. I have a personal driver who also takes me to Mohammed Ali Road for the local fare. Chikoo milk shake at Haji Ali Juice Centre is my absolute favourite.

ON March 28; 8 pm
AT The Studio Theatre, Nita Mukesh Ambani Cultural Centre, Bandra Kurla Complex.
LOG ON TO in.bookmyshow.com
Entry Rs 750 onwards