Urmila Sathyanarayanan’s life story is deeply entrenched in the story of dance. “I can’t think of a life without dance,” says Bharatanatyam dancer-choreographer, taking an hour-long break from her own morning practice, before her class with her ensemble. “Dance has been such an intrinsic part of my life that my family has learnt to work around it.”
For more than four decades now, Urmila has engaged with dance in ways that have not only enriched her performing skills but also her life as a teacher.
Urmila’s contribution in sharing her knowledge of dance generously with students has been significant. “When I’m not dancing, I’m teaching or creating solo or group work. Even when I’m travelling, I plan my schedule to accommodate my classes over Skype. Dance is like an all-consuming madness in my life, but a madness so fulfilling.”
Urmila’s tryst with dance began when she was three. “I still remember,” says Urmila, “when my mother took me to Vaadyar (Sri Dandayudhapani Pillai of the Vazhuvoor bani), he asked if it was mother who wanted to learn”. Later, Urmila began her training under acclaimed dancer-choreographer K J Sarasa. “Under her watchful eyes, I allowed my body and mind to assimilate new influences and developed a style and identity of my own.”
Last year, Urmila’s institution, Natya Sankalpa, a school that had humble beginnings with merely six students in a friend’s car shed, and is now housed within Urmila’s bungalow, celebrated its 20th anniversary. That milestone also coincided with the 100th arangetram held by the school.
At an event organised at The Music Academy, 200 students of the institution performed the Ramayana and nearly 94 of the 100 students, who performed their arangetram under the auspices of Natya Sankalpa, congregated from different parts of the world, to perform a piece that reinforced in a sense, the strength of the institution but more so, Urmila’s faith in the journey she embarked upon, literally on a whim to share her art with a few students.
At the moment, Urmila and Natya Sankalpa are in active practice mode to get ready for performances during the Season.
New work
In addition to her solos, the ensemble production exclusively for the Season is ‘Sabhapathy’, a 90-minute piece. Envisioned by Urmila but created along with her faculty and students, ‘Sabhapathy’ is a befitting tribute to the five sabhas of Lord Nataraja. The idea for the work was born in February this year when Urmila was creating a solo work on Lord Siva. The work will feature Urmila and nearly 20 of her students.
Having engaged with group choreography for nearly two decades now, Urmila recognises the need forgood content while creating new work. “You have to keep reminding yourself to never steer away from the core of the story, whatever that may be,” she says, “And to ensure that within the parameters of the classical form, the work has to engage and enrich the audience, and should be aesthetic.”
The sthai bhavam (core idea/expression) has been integral to Urmila’s dance, both thematic presentations and margam. This year, for her solos, she returns to the margam.
“It’s like eating rasam rice or curd rice, no matter where you go or what you like. That feeling of wholesomeness,” says Urmila, referring to the margam and the potential it offers to a dancer-choreographer.
This Season, she has chosen a Tanjore Quartet varnam in Chakravaham raga that she learnt nearly two decades ago.
“I have tried to give it my own flavour. I realise its beauty more intensely now since I have matured as a dancer. My response to it will lend a different dimension to the piece,” says Urmila.
