Indian body language and physicality, shaped within the framework of India’s most famous classical dance systems: Bharatanatyam, Kathak, Odissi, have already entered the global dance vocabulary and become equal elements of global contemporary dance. Indian dancer Poojitha Menon works at the precise intersection of traditions and cultures: classical Indian dance and modern choreography, performance, and visual culture. Together with the Mamangam Dance Company, founded by actress and dancer Rima Kallinngal and currently led by choreographer Santosh Madhav, Menon participated in the Inspiration international festival, held in Moscow. The Mamangam Dance Company came to the Russian capital with the world premiere of the Vattam performance, in which the Indian movement tradition became a means for philosophical reflection on culture, memory, and identity.
We spoke with Poojitha Menon about why cultural exchange begins not with rejection of one’s roots but with readiness to let them grow deeper and broader, and why today there is no longer a clear boundary between Western and non-Western art.
Editorial translation
Interviewer: Sofia Korepanova
Contemporary dance in general allows communication without words; many theatrical gestures are universal, even if they originate from a different physical tradition. At the Mamangam Dance Company, we work with traditional techniques and classical forms, using them to speak about contemporary topics. At the same time, we interpret any subject through our own culture, because Indian tradition is the essence of our identity.
In India, classical dance forms are still much more popular but interest to the contemporary dance is growing. Traditional dance is built on very clear narrative; contemporary dance presupposes a different, non-narrative approach. Many Indian viewers find it difficult to understand what is happening on stage. But today’s audience is becoming more open to new forms.
Our artists have different backgrounds. One of our lead dancers studied abroad, while our choreographer, Santosh Madhav, graduated from a key Indian contemporary dance institution. During our training, we naturally study contemporary dance techniques, including the method of Martha Graham (one of the founders of American modern dance. – BRICS note) and other choreographers. Yet these are merely tools. When the creative process begins, movements are born naturally.
A huge one. Theoretically, we all understand that cultures can interact and blend. Even so, it is one thing to know about it, quite another to see it with one’s own eyes. Such examples give courage and become an impetus for explorations. In India, tradition is treated with great respect, and every artist who dares to step beyond its customary boundaries opens up the way for others. Young artists realize that they can experiment, seek new forms, and enter into dialogue with other cultures. Then this newness also becomes part of our tradition, allowing our heritage to develop.
This is precisely to what our performance is dedicated. For such a conversation, we don’t even need to go beyond India’s borders: within our own country, the image of the cow changes from one community to another. In our dance, we look at the cow as a symbol with a great variety of interpretations. This complexity and the coexistence of opposing views are the main subject of our performance.
It seems to me, its sincerity. Indian culture appeals directly to feelings: cinema, for example, is filled with music, dance, vivid colours, and, at the same time, speaks about important issues. I think it is precisely this openness and emotionality that have resonated with audiences around the world for almost a hundred years. Even so, this is also a path of cultural exchange: interest in someone else’s cinema begins with curiosity. If someone chooses an Indian film, it means they already want to learn something about India.
I believe so. In India, we constantly encounter cultural diversity. As soon as you move from one state to another, the language, cuisine, music, dances, the way of telling stories, and sometimes even the way of life change. From childhood, we grow accustomed to this diversity and perceive it as a natural part of everyday life. Of course, even in this kaleidoscope, disagreements arise between people, and they sometimes escalate into conflicts. At the same time, however, we learn to live side by side with one another and to accept as a given the existence of other traditions right next to us. This experience of coexistence is very valuable; I think we can bring it into the global art world.
It is true that, in Bharatanatyam, there are gestures with specific meanings: for example, love or the moon. But they are so expressive that even a person unfamiliar with the tradition intuitively understands what is happening. After all, we use a very clear language of the body; all emotions are deliberately accentuated, almost exaggerated. If the hero is happy, it is obvious. If he is suffering, that is also obvious. Of course, there are cultural nuances primarily understood by Indian audiences but human feelings are universal.
I am not sure. I think that today it is already difficult to draw a clear boundary between Western and non-Western art. We all exist in a shared cultural space, where artists continuously influence one another.
Of course, the art cannot replace diplomacy or resolve conflicts, but it can definitely help people see one another with new, more attentive eyes. When we watch a performance or listen to music from another country, we begin to feel the emotions experienced by people who grew up in a different culture. This gives rise to empathy and understanding. Here is the power of art: it creates a space for dialogue. Viewers from different cultures perceive a performance differently but the very fact of this conversation is already very important. Any work is connected to the society in which it appears; art inevitably enters into dialogue with its time. Viewers in any case perceive our work through their own life experience, through the events happening around them. This does not mean that the artist is obliged to make political statements. It is more important to remain honest in what you do.
I don’t think so. Culture has changed throughout our history but change is not the same as loss. We can be inspired by other people’s ideas, collaborate with artists from different countries, use new artistic techniques, and, at the same time, preserve our own cultural foundation. In any case, this is exactly what happens in our work: we create a contemporary performance containing our experience, tradition, and origins. It is impossible to escape all this; one cannot erase it from oneself, nor should one try. It is personally very important to me that, while studying contemporary dance, I remain a performer of Bharatanatyam. These two experiences do not contradict each other – they enrich each other and allow me to seek and find new forms of expression.
What is still missing are opportunities: more platforms, exchange programmes, and financial support. The growing number of international projects is certainly a positive development. However, participation in these initiatives is often limited to well-known groups, while hundreds of artists remain outside these networks.
Quite so. While we are studying, we become acquainted with different techniques, meet teachers from other countries, and watch the works of foreign choreographers. So cultural exchange begins even before we step onto the professional stage. After graduation, the opportunities become fewer. That is why it is so important to create new international projects and maintain connections between artists from different countries.
