Danseuse Bijayini Satpathy on performing in Kolkata, collaborations, and performing arts as a medium today
An exceptional exponent of Odissi, Bijayini Satpathy, is the first dancer of her family. The danseuse has recently progressed to the next chapter, choreographing. Whilst she was in town earlier this year as a performer at the Kalpodip Utsav curated by filmmaker Lubdhak Chatterjee and danseuse Pompi Paul, we caught up with Bijayini on dance, choreography, her most ‘daring’ work till date, and more.
What about Kalpodip Utsav attracted you to perform in Kolkata?
I first met Pompi Paul in Indore where we both performed. That’s where I noticed her being a beautiful dancer. When she reached out for Kalpodip Utsav, I was excited to be here. My performance in Kolkata is called Raga Chitra, and I am presenting a few pieces that represent the different ways in which music and dance choreography are married and how they help imagination evolve.
What is your understanding of Odissi and Indian classical dance worldwide?
There’s a lot of respect. It is understood that it’s a complex and advanced form of dance. The audience world wide watch a lot of high-quality performances. Then again, in some places, it is not as appreciated, it is sometimes misunderstood, and compared to Bollywood. A lot of times what is very disappointing for me, especially with the Indian community, is that they can’t distinguish one dance form from the other. But places where I dance, have a lot of value for the artistes’ requirements, so it’s a joy to perform there.
Why do you think Doha is your most daring venture?
I was the resident artiste for the MetLiveArts–Residency in 2021-22 with the pre-requisite to spend a month visiting the Met museums and proposing ideas. Odissi dance was re-invented from temple sculptures and I think it is not very different from looking at galleries. So, I observed still art in the context of Odissi vocabulary and drew inspiration for my movement. I chose a few galleries and then proposed to create work in them. I created Prayer at the Met Cloisters, Naino at The Astor Chinese Garden Court, Taru in the Islamic Art Wing, and Antaranga at Modern and Contemporary Art Wing. Building on these experiences, I went on to create Doha, exploring the interplay of prayer and play that the soul undergoes.
How significant is performing arts as a medium today?
It should be valued much more. For us, performance means living on the edge through choreography and how I connect my idea and imagination with the audience just by moving the body without speaking. When I witness such a performance as an audience, it feels like tapping into a part of ourselves that only fine and visual arts can truly fulfil. That’s why the society has to make room for arts and artistes. I don’t think it’s valued as much as it should be.
Does collaboration take forward the cause of the arts?
Art is inherently collaborative; for example, creating choreography requires music, which means working closely with composers. In that sense, we become co-creators of the dance.
Two icons from Kolkata you would want to collaborate with.
In the recent times I have seen Bimbavati Devi, who does Manipuri dance and Kaushiki Chakraborty, who is a wonderful vocalist. I’d like to collaborate with them.
Do you look back and think of choreographing any part of your dance differently?
No. I am a young choreographer. I believe a dance takes around two years of performing to fully mature and settle into the body. Only after that can you truly reflect on what works and what doesn’t. How I felt creating a piece and how I feel after performing it for a few years are different. While I wouldn’t change anything, I might consider reworking Sappho 34 from my residency at the Met.
What does the rest of the year look like for you?
I will be pre paring a new piece with my student, which is to be performed at NCPA. I will progress with the documentation of my training pedagogy.