What do you think of this new venture?
It’s a great idea and I congratulate Kalamandalam Calcutta, especially those behind it—Jita Roy Chowdhury and Sunita Chowdhurie.
Why do you you feel there is a need to revive Bharatanatyam?
There is general sense of deterioration in cultural values. Calcutta has a strong cultural heritage... dance is an integral part of it.
What did you expect to achieve as the first artist to have been invited for the workshops?
I focused on the spirituality of this dance form. Technique played a major part, but a revival indicates holistic understanding, including inner philosophy and outer manifestation.
How did you find the Calcutta students?
I found them to be receptive and talented.
What about Calcutta? Did you sense a decline in cultural values?
I have been in Calcutta many times and I have noticed a gradual deterioration.
Can you explain how?
It’s subtle. Calcutta is a city of great literature, art, dance, theatre, though earlier there was more passion in it. Now that is missing.
Why do you think that has happened?
I would like to know the answer from the people of Calcutta.
Do you notice the same level of growing disinterest in other cities too?
To some degree.
How important is it to retain ‘purity’ in dance forms like Bharatanatyam?
When I talk about ‘deterioration’ I don’t mean that in terms of the lack of purity. The passion is what is missing.
Tell us about your resignation from the chairmanship of the film censor board.
A terrible experience. The censor board was a bully, especially horrible to the women. They...expected us to be at their beck and call. There is only so much interference an artist can tolerate.
