“I am happy that I was born when I was born,” says Delhi-based dancer Geeta Chandran. The significance of the statement strikes me when we look at her career spanning over five decades (50 years since her Arangetram year) and talk about several milestones. Geeta talks about her first teacher, Swarn Saraswati (Balasaraswati’s cousin) under whose tutelage she came at the age of five. For a dozen years, Geeta trained under his tutelage and absorbed every minute nuance. His training began with the understudy of the Thanjavur Quartet (brothers Chinnayya, Ponnayya, Sivanandam and Vadivelu). She then moved on to Alarippas, Padam, Javalis, Varnam (‘Mohamana’ was the first Varnam she learned) and Thilanas. The Guru of Geeta believed “not in performance, but in process” and thus his journey began with assimilation, absorption and understanding.

Swarna Saraswati was a brilliant singer, and Geeta understood that dance and music were actually two sides of the same coin, and that one could dance better only with a thorough knowledge of music – she studied music for about 25 years . Under different gurus. Thus the patronage was based on music and Swarna used to sing in the class even while teaching dance.

A certain reverence oozes from Geeta’s voice when she talks about Swarna, all that she had groomed her for, and her luck in being able to join the last batch of her students.

Geeta got married when she was 12 years old.

“Sometimes, when dancers say they know music, it is mostly kelvignanam (learning by listening), but it does not equate to the rigor of practice. Geeta says that it was only in hindsight that she realized many aspects of her guru’s teachings.

initiation into dance

Golden Muse never taught entire sections, which was the norm in ‘institutionalized teaching’. New thoughts and ideas were seen emerging in every class and it was here that Geeta understood the concept of Manodharma. The process was more like osmosis rather than giving students a finished piece in hand. This was the reason why various aspects of Swarna’s education like singing and Nattuvangam remained with Geeta. She recalls how her teacher used to draw a circle and ask her to do Thati-Mettu within it, saying that a certain energy came from there and Araimandi would be perfect only within the circle.

When her Guru fell ill, Geeta was unable to find anyone else in her place, but she needed guidance and so she trained under Guru Sadasivam (Vazhuvoor style) for a short time. It was here that he first got the understanding of Pushpanjali. Soon, on the advice of critic Subbudu, she went to another guru, Dakshinamurthy (brother of Dandayudhapani Pillai). It was here that he understood performative dance, Jathis and stagecraft. Geeta had to adapt herself to the new style. Soon, Jamuna Krishna welcomed her into the world of acting through Padam and Javalis. And, when Kalanidhi Mami came to Delhi to conduct a workshop on acting, Jamuna inspired young Geeta to attend it. Later he also studied under him in Chennai. Meanwhile, Jamuna opened her world to Hindi poetry, especially the poems of Surdas and Kabir. This began Geeta’s own research on Haveli Sangeet in Brindavan. He won a senior scholarship for this, and tuned many of the compositions to make them suitable for dance. It was here that Geeta saw him dancing as a service.

Later, Geetha worked with mridangist K. Shivappa, nephew of Karaikudi Krishnamurthy, who composed complex jatis. He brought rhythm to their dance.

Geeta’s first choreographic work was in 1998, bringing together dance and puppetry. The theme was Draupadi during the 18-day war, her defeat each day, and how on the 18th day she finally says: ‘Muchyate, Muchyate’ (liberation). The idea that war is not the answer to everything is echoed in many poets.

Geeta Chandran during the thematic performance. Photo Courtesy: Rakesh Sahay

Collaborative work followed. Geeta started teaching in 1992 and her organization Natyavruksha aimed to bridge the gap in formal education, making learning more holistic. This interdisciplinary education ensured that students were exposed to culture, spirituality, architecture, visual arts, history, and poetry.

Geeta tells how different is the education then and now. “We were not even allowed to write notes in class. Now, everything is available at the tap of a button.” Experienced dancers also question the practice of the workshop. “How can one teach varnam in two days? My teachers worked on one for months. We shortchange ourselves when we allow this type of teaching and learning to happen,” she explains.

Geeta says: “When I ask my students to watch a performance, I also ask them to review – they use their brains to criticize, and also learn to improve their writing skills. Are. Because, today’s artistes need to be well-versed – they have to dance, speak and write (for grants).

The dancer-cum-teacher also says that the way dance is viewed has changed. “One needs to think beyond dance classes. A psychology student can use it for movement therapy, a sociology student can use it for arts management, technocrats can use it to learn more about sound and light. So dance teaching is now about allowing students to find their place under the sun, rather than struggling for the very difficult niche of stage performance. Not every dancer can become a soloist,” says Geeta. She explains how space will have to be made for more dancers. Curation is essential for healthy performance.

“I can’t look at my students, who come from different backgrounds, and tell them to drop everything and come to dance, because there’s no money in it. Dance has a long gestation period, and if there is no control, many good dancers will be lost,” says Geeta, who has already been awarded the Padma Shri and the Sangeet Natak Akademi.

She will be in Chennai to receive the Nritya Chudamani, an honor given by Sri Krishna Gana Sabha to dancers for meritorious contribution in the field.