Anuradha Venkataraman
| Photo Credit: Special Arrangement
In 2016, a haunting headline in The Hindu, ‘Landless families have no place to bury their dead,’ jolted Anuradha Venkataraman. The article detailed the plight of landless families, especially Dalits, in Shivamogga district, Karnataka, who were forced to bury their loved ones on riverbanks, only to have the bodies washed away by rain. The stark imagery deeply disturbed her and stayed with her. As she delved into the topic, it became evident that this was a widespread issue, not an isolated incident.
“Coming from an urban, privileged background, this reality was both uncomfortable and distant. Empathy felt inadequate as I was removed from their experience. Yet, the stark contrast between my lifestyle and theirs compelled me to respond,” says Anuradha.
The response culminated in ‘Bound by Soil: A Requiem for the Forgotten,’ her upcoming Bharatanatyam performance with music by DS Srivatasa and Lalgudi R Sriganesh
Anuradha explored the complex interplay between environment and development, influenced by books like Sarah Joseph’s Gift In Green and P Sainath’s Everybody Loves A Good Drought. She still struggled to transform this weighty issue into the language of Bharatanatyam. Then, a friend suggested reading ONV Kurup’s Malayalam poem, Bhoomikkoru Charamageetham. That provided the breakthrough she needed.
“The poetry provided an invaluable resource. As a movement artist, creating and working with imagery is crucial. The poem offered potent visual metaphors that aligned perfectly with my thoughts. While there’s no strict narrative, the abstract imagery — forests vanishing, farmers losing their land, the manipulation of water and earth — resonated deeply. I saw a clear path to translate these images into movement.”
Anuradha Venkataraman
| Photo Credit:
Special Arrangement
A visual lament
Apart from literature, she sought inspiration from Nature itself. Whenever she got the chance, she tried to connect with it.
Anuradha’s choreography for ‘Bound by Soil’ is a deliberate departure from traditional Bharatanatyam. “I’ve intentionally minimised the use of text,” she says, opting for a more abstract narrative. The performance is a visual and auditory experience with movement, sound, and an installation of a human represented as a parasite.
The focus was on evoking an emotional response rather than intellectual comprehension. “In recent years, my experience as an audience member has made me prioritise the audience’s overall experience over their ability to decipher every detail. I want the audience to feel something, to connect with the performance on a visceral level.”
“My aim is to create a performance that connects with the audience on a profound, experiential level. I’m interested in unsettling the viewer rather than providing a traditionally pleasing aesthetic,” she adds, “Classical art forms often prioritise emotions like peace and beauty. My approach deliberately contradicts this, aiming to provoke a more disruptive emotional response. Ultimately, I’m curious how the audience will react to this departure from convention.”
Anuradha’s artistic journey has been one of introspection. “My journey as an artist has evolved from teaching art as a purely aesthetic discipline to recognising its inherent connection to the world around us,” she reflects. This deep-rooted belief in art’s power to influence and inspire seems to form the core of ‘Bound by Soil.’
“I believe all art is inherently political. Even when an artist claims to avoid social commentary, the work is still a product of their environment and experiences,” she says, “Art can subtly influence the audience’s subconscious, prompting them to consider issues they might not have consciously thought about. Whether intentional or not, art engages with the world around us, making it impossible to truly separate art from politics.”
On August 14, 7pm onwards, at Seva Sadan, Malleswaram. Tickets on BookMyShow.
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