A.R. Rahman's Journey to the Oscars - International Indian

DANCEth16ANNI V ERSARYin the physics of movement andmuscle kinesiology and am gratefulto her for that.In 1998, I was introduced toa teacher named Jan Freeman- an African American whospecialized in the HortonTechnique. He inspired me totrain overseas at the Alvin AileyInstitute. I had no finances but mydetermination and a loan landedme at New York airport without aclue where to start.Tadej, a dancer friend andmy angel in disguise happenedto teach at the Martha GrahamCompany and with his guidanceI joined the open classes atTerence with hisdance troupethe Ailey, doing three classesa day. I was easily the worststudent and the first week washarrowing! I also enrolled atthe Martha Graham School andTadej’s special attention workedwonders resulting in drasticchanges in the quality of mymovements and my confidence.I also discovered classes atthe Broadway Dance Center. Ifthe morning Ailey classes wererigorous, the evening classes atBroadway made up for the fundance can be. I enrolled for modern jazz, video funk and hip hop andwas soon having a blast. My body was tired with the training and myfunds were soon running out. A bar attendant’s job without wages butenough tips helped me stay on for three months and cover an intensiveprogram at the Aileys.This stint in the US was the most memorable and defining time inmy life. Besides the confidence it gave me, I closely watched the danceschools and how dancers were born through their programs. This soweda seed in my heart and a dream that made me realize my purpose in life.Q: Can you mention other shows in India and around the world thatyou have been part of?A: I choreographed the A R Rahman “Unity of Light” concert thattoured 9 cities around the world and had a crew of 150 live musicians,vocalists, dancers and the technical crew.I have taught at the international dance festival called‘Impulstanz’ in Vienna and I was the first Indian to represent Asia atthe International Choreographers meet held in Stuttgart, Germanyin 2006. I have also choreographed other events including:The musical EVITA, a DubaiContemporary Modern Danceproduction,‘Surkh’ at the Braunschweigfestival, Germany in 2008. InternationalMusicals, like ‘Children of the Sea 2005’and ‘Finding Marina 2006” for the civilwar and Tsunami affected children inSri Lanka. These productions premieredat the Edinburgh Fringe Festival, U.K.where ‘Children of the Sea’ won theBest Musical Award in 2005.Q: What has been your experiencetaking Indian contemporary danceoverseas?A: My experience overseas hasincluded both – performance andteaching. The response has beenoverwhelming as classes overseas get booked in advance and my oldstudents look forward to seeing me every year. These students aregenerally trained dancers but are very eager to learn.The challenges are always in the first few sessions as they try tograsp Indian concepts. The manipulation of the wrist and the use ofbreath are new to most westerners. After the first few sessions most feelcompletely at ease and find interesting ways to add color and texture totheir own performances.Fusing Yoga and Indian classical dance motifs into contemporarydance also help many dancers better themselves and provide a widevocabulary of movement. The use of the mudras and hastas with theyoga postures are interesting ways to find solutions to certain styles.Q: What are your future plans / aspirations for Indian talent inContemporary Dance? Do you see a place for it in the international arena?A: Indian Contemporary Dance is unique! I would like to teachthese techniques all over the world. I want the world to take notice ofthe talent that exists in India and of course do everything to make itprofessional and recognized.The scholarship program at my dance academy has two aims – tobring back the dignity of dance to the minds and attitudes of people andsecond, to work hard at making our dancers financially stable and secure.Q: Explain how your dance academy has grown and what position itis in presently?A: India lacks institutes that provide a curriculum in dance and anopportunity to make it a career choice. Students, especially boys lacksupport from parents and many talented dancers succumb to pressureas they are not financially independent. I began a trust to support andfund aspiring dancers through a three year diploma program to learndance and movement at a professional level. More information isavailable on www.terencelewis.comThe free scholarship at the academy is a three year course withthe best teachers from India and abroad. The curriculum includesdance forms of Ballet, Jazz, Modern, Contemporary, Kathak, BharatNatyam, Yoga, Kallari and Bollywood. Theory subjects in Nutrition,Anatomy Physiology, Exercise Injury and the History of IndianClassical, Ballet and Modern Dance is also part of the curriculum.Our first batch of students showcased their performance titled OutOf The Box and received critical appreciation by the dance community.Today we have 70 students indifferent years at the academy.Q: What support do we lack?A: The scholarship programdesperately needs funds as we canafford only a few students in a year.A big rehearsal space in Mumbaiis expensive although teachersare available at reasonable cost.However if we are to maintainhigh standards we must also getthe best faculty from overseas whoare willing and believe in us. Theprogram is run under a trust thatcan receive funds from individualsand international companies. Anysupport we receive will supporta talented student, with him/herhaving to balance their trainingwith work at call centers and otherjobs to make ends meet.Sarina Menezes is a freelancewriter based in the UK.14The International Indian