Among all the flowers, it’s the lotus whose preternatural beauty has found a great metaphor in arts. In full bloom or as a bud, its delicate lush pink petals have lent colour to aesthetic interpretations. Its ability to blossom in slush has inspired philosophical connotations. Its deep connect with Hinduism and Buddhism has given it a spiritual shade. Science or art, nature or culture…the lotus seems to exist in our collective consciences.
And Singapore-based Apsaras Arts' latest production Alapadma is another ode to this flower. “The shape of lotus is the basic mudra of every dance form. Also, I felt it beautifully connects human emotions by being a link between cultures of the world,” says Aravinth Kumarasamy, the artistic director of the dance company.
“We will explore the different facets of the flower such as srishti sarasija (signifying creation), padapankaja (mythology), leela kamla (romance), alankaara ambuja (iconography) and sahasrapadmam (human wisdom). The production is a combination of music, movement and mine,” he elaborates.
Trained in Bharatanatyam and Carnatic music, Aravinth believes one cannot be a good choreographer without the knowledge of music. “When you conceive of a piece you do so along with appropriate raga and tala. It gives a complete picture. It’s impossible to think of one without the other.”
Though he trained in India under Neila Sathyalingam, a disciple of Rukmini Devi, he moved to Singapore when his guru founded Apsaras Arts along with her husband S. Sathyalingam, also a Kalakshetra graduate and faculty member in music. Apsaras Arts is the recipient of Singapore’s National Arts Council’s seed grant for development of traditional arts.
In 2002, the Sathyalingams made him incharge of the institution. “Yes, in any art school creativity should be the driving force but I was keen to bring to Apsaras the professionalism that we see in most ballet companies in the West. That is how it became a professional performing company, with full-time dancers on its pay roll. We offer them monetary benefits in return for their total involvement in creating new works and taking them across the world,” says Aravinth.
He feels artists shouldn’t fear talking about money. “Unless your needs are taken care of how can you pursue your passion? Of course, you should always bear in mind the thin line between commercialisation and creativity.”
As a member of the advisory board of National Council of Singapore and the talent advisory board of the People’s Association of Singapore, he wants to come up with more works that capture the essence of South East Asian culture and heritage. “For instance, Nirmanika was based on the architectural magnificence of Angkor wat or ‘Anjasa’ that unraveled the beauty of Buddhist monuments. The more I look around for inspiration, the more I want to redefine the boundaries of my ensemble work,” says Aravinth.
He is excited about premiering Alapadma in India.
“Nothing can be more fulfilling than the sound of applause in the land of art,” he smiles.
Alapadma will be staged today at Kalakshetra Foundation (6.30 p.m.) as part of Rukmini Devi Festival. On Feb. 27 (10 a.m.), an illustrated talk on the making of Alapadma at CP Ramaswamy Aiyer Foundation. February 28 (10.30 a.m.) performance at Narada Gana Sabha for Bharata Ilango Foundation.
