In her guru's footsteps

CHITRA SWAMINATHAN

For gurus, she had Rukmini Devi Arundale and Sharada Hoffman. She was five years old, when she stepped into Kalakshetra . Now in her fifties, Ambika Buch has a lot to say... about her long association with classical dance, as a teacher and a performer, her creative pursuits, particularly, her choreographic works. But it takes a lot of persuasion to make this modest artiste open up and share her experiences.

"Interview? Please ... No,'' she literally pleads. Descending from the stage at the Kumara Raja Muthiah auditorium, she adds, "I do not really enjoy talking about myself." A simple smile lights up her face as people from the audience crowd around, praising the meticulously planned and choreographed pieces, presented by her Aradhana group, a talented team of former Kalakshetra students.

The programme, staged as part of Muthiah Muthamil Mandram's first anniversary celebrations, was a natural and smooth blend of classical and folk elements, showcasing Ambika's imaginative visualisation and aesthetic sense.

"I can call nothing my own. It's all athai's (Rukmini Devi) inspiration,'' she says. "I feel those who were under athai's guidance and have seen her at work, are blessed souls. She had an amazing eye for detail, be it movement, music, costume, colour and lighting. There was so much to learn from her both as an artiste and a human being. So, in whatever we do, athai's touch will be evident. In fact, the least we can do is to follow her style, but without diluting its purity".

The word `innovation' in art may be a modern coinage, but athai had a natural flair for experimenting with new things in every dance production, says the proud sishya. "But in the name of innovation, many dancers are now breaking away from the basics," she laments.

"Most contemporary productions use classical movements for western tunes, and this looks like a total mismatch. Whether modern or traditional, it's the purity of style that matters. You can be innovative even within the classical realm, if you understand the essence and depth of the art, its flexibility and variations. And then you will never feel the need to look beyond tradition," she stresses.

But despite her strong conviction about a classical approach, Ambika does understand modern compulsions. "Art or academics, the aim now is to pursue a successful career. For today's youngsters it's a race against time. They can hardly afford long hours of practise. But we, as students, used to spend the better part of our day on the Kalakshetra campus, interacting with our gurus and other students.

Ambika, after years of training in Bharatanatyam and Kathakali, started performing solo and in group productions. Besides, she has also taught and choreographed shows at Kalakshetra. "Due to ill health, I stopped regular classes, but whenever my services are needed at Kalakshetra, I am only too eager to help."

She feels a special bonding with the institution; particularly the years spent with athai are her cherished memories. "I was fortunate to be able to serve her in her last days. Also during our tours in and outside India, I used to take care of all her needs. Such affection between guru and sishya is rarely found these days," says she.

Ambika blames the present commercialised system for the ills plaguing the arts. It's money and clout that speak more than talent. The innumerable sabhas crowding the city provide a platform only to those who have the capacity to meet the expenses. Nobody is really bothered about readying the next generation of artistes to continue our classical tradition. There are many sincere, talented and trained students, who are languishing, not knowing what to do and where to go, rues the artiste.

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Section  : Entertainment