"In India
feudal patronage still holds sway"
What strikes one on meeting Sharon
Lowen is her large, lovely eyes. She looks like a fair
Indian maiden, and not a foreigner. The renowned Odissi
danseuse has assimilated and internalised Indian art and
culture to the extent that she is more Indian than many
of us. During the last 25 years, she has brought out the
exquisite grace of Odissi through her performances in
India and abroad.
Sharon is one of the few
artistes who have a strong academic background. She is a
Fulbright and Smithsonian scholar, with an M.A. in Dance
from the University of Michigan. She was not content with
learning Odissi only, and, to understand Indian dance,
she took training in Manipuri, Mayurbhanj Chhau and
Seriakella Chhau forms, too. Abhinaya is her
strength, and she performs Odissi without altering even
an iota of its form or style.
This left-handed artiste,
along with being a performer, wants to contribute towards
improving the appreciation and understanding of Indian
dance.
She has written scholarly
articles, held hundreds of lecture-demonstrations, and
performed in universities, schools, museums and art
centres, besides teaching as a visiting professor at
universities in the USA. Belu Maheshwari met her
recently for an interview. Excerpts:
What is the most
memorable experience of your childhood?
The magic of attending
hundreds of performances presented by artistes from all
over the world. My parents were sensitive to all arts and
cultures. They took me to theatre, dance performances,
music recitals, and puppet shows. I imbibed so much. They
helped me develop a holistic personality.
Do you feel art
education is essential for the young?
Definitely. Only bookish
education is not sufficient for the overall growth of the
young. They should be exposed early to sports and the
arts. My daughter went to the theatre when she was one
-week-old. I cannot understand why young people do not
come to watch performances. Parents should teach them
auditorium manners. Live performances are not like your
TV rooms, where people can walk in and out, go crunch,
crunch while eating chips. Why only children, even adults
in India need to learn how to behave during a performance
and show respect to art and artistes.
Do you come from a
family of artists?
No. My father is a
chemical engineer and my mother has a Masters in clinical
psychology. They later started a business. My mother,
even at 60, loved to tap dance. Among my siblings, my
brother is a surgeon, while my sister is a modern dancer,
writer and poet in America. Now my daughter Tars is also
in the USA.
How did you become a
dancer?
As I was fortunate to be
exposed to classical dances of the world, I got
interested in the pure form. As India has a rich
tradition of dance, I thought of coming here. I was
fortunate to get a Fulbright scholarship to India and I
started learning Manipuri. I was focused in my studies of
the East and to understand this culture I even went to
theatre workshops.
Was the progression to
Odissi dance a natural step?
I went to meet Kelu Babu
(Padma Bhushan Guru Kelucharan Mohapatra). He saw some
promise in me and said if I continued I could become a
good dancer. I found him a very good teacher, generous
about imparting his knowledge. I found Odissi had wide
scope for abhinaya. I even learnt Mayabhan Chhau,
which is basically a male form of dance. It provides
flexibility and strength to the body. The dances of East
India have a lyrical quality to them, they have a rich
tradition. I have also learnt ballet and modern dance.
Did language not prove
an impediment to communication, especially with the
accompanists?
Dance has its own
language, so communication with accompanists is not
difficult. Most of my accompanists are Oriyas and they
have been with me for a long time. I have also over the
years picked up many Indian languages in order to
understand their poetry, like Sanskrit, Oriya, Hindi, or
Telugu. Poetry in these languages fascinates me, I try to
get into it. Anyway, poetry is not literal. It has many
nuances.
What is the difference
in the teaching of dance in India and abroad?
Dance training in India is
more individualistic. In the USA, it is taught in large
classes. Indian dance can ideally be taught through the guru-shishya
parampara. By a strict definition, this parampara
has declined here also.
Its attributes were that
the guru was a father-figure -- a mentor, guide and
philosopher. The shishyas gave their body and soul
to be moulded by the guru.
In the West, there is an
emphasis on training, preparing the body and
choreography-- every movement has to be synchronised to
perfection. Here it is abhinaya, laya and taal
-- your own interpretation of the words.
What is required to
rise above the ordinary as a dancer ?
One can learn anything
technical, like the movements. To be a cut above, you
have to delve deeper, understand the very concept of
dance, the history, the meta-physics, the philosophy--
everything has to be absorbed. I feel, after you reach a
certain position or level in a field, you have a
responsibility to make the form grow, spread and
contribute.
What other difference
do you find in the art scene in India and abroad?
Abroad, artist(e)s do not
push, if they are good they will rise. Here the scene is
entirely different, so much manoeuvring and under-cutting
goes on. Then, in the West, there is lot of interaction
among artistes; here there is hardly any. Another
difference is there you have professional event managers
and personal managers. Unfortunately in India, it is
personal contacts which matter. Here the system of feudal
patronage still holds sway. The maharajas have gone but
new culture czars have come up.
You have been a part of
the dance scene in India for a very long time. What are
the changes that you have witnessed?
I have been around for
ages. The artistes were first trying to popularise art;
they were not competing with each other. Now art has
become popular, respectable. Now we are competing for the
same programmes. There is terrible pressure to outwit
another dancer for a slot.
What norms do you
follow?
I feel to be a good
artiste you have to be a good human being. In my 55 years
of life, I have matured, understood life. I feel I have
more to give to my art now. My norms are that I will not
ask for programmes. I never cut another artiste. If it is
my due, I will get it.
What are your other
interests?
From time to time, I like
to work in theatre. I have worked with Einstein Repotery
Company, I have been part of Videshi Kalakar Utsava for 6
years. I choreograph for films and television in India,
the USA, England. I have featured in a Telugu film.
How would you define
yourself ?
I can say that I like what
I have achieved for myself. I am a competent
choreographer, a team person, a good dancer. I enjoy
structuring things, creating. I start my performance with
Veena Vadini Varde Mangalacharan. This 1945 poem by
Suryakant Tripathi Nirala is what I empathise with.
Cut the shackles that bind. Shower us with light as
you remove darkness and illuminate our way. Teach new
steps and new sounds. Give fledgling birds new voices and
wings to fly.
What are your beliefs?
And what is the motto of your life?
Never underestimate
yourself or anyone else. Try to reach your highest peak
of excellence. Do not do things you are not comfortable
doing and never be afraid. Fear brings out the worst
qualities in a human being.
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