The incredible splendour and rigorous discipline of Indian classical dance forms may keep even the most talented performers content to focus on perfect execution instead of innovation, but Indian-American Bharatanatyam exponent Mythili Prakash wants to push some boundaries.
Mythili comes to Singapore this month to participate in Kalaa Utsavam 2024 — as one of the artistes in GIGENIS – the generation of the Earth, directed by Akram Khan; and to conduct a masterclass in choreography in Bharatanatyam.
Speaking to Sudipto Maity in an interview with Connected to India, the second-generation Indian-American dancer, who has performed all over the world, says that Singapore is a special place for performing artistes, as it is “an interesting mix between the ‘East’ and the ‘West’” — while Singapore has a “recognition of conventional structures”, it also has “an openness to push those structures and to engage in questions of why and how”.
She is definitely a person who asks “why and how”. The Instagram account of Mythili is a window into her mind — she questions why Goddess Kali should lose a dance competition to Lord Shiva and choreographs a different story; and she uses classical dance (with music by sitar player Anoushka Shankar) to express the emotions associated with a woman being ripped up by men, as it happened on the terrible night of 16 December 2012 on a bus in Delhi, and on so many other days and nights.
As Mythili continues collaborating with Kalaa Utsavam and Esplanade – Theatres on the Bay to bring newness within Bharatanatyam to Singapore, she talks about what made her a dancer and how she celebrates the success of “diaspora kids”. Excerpts from the interview:
● Your association with Kalaa Utsavam and Esplanade is more than a decade old. Tell us a bit about this bond.
I’ve been performing my work in Singapore and at Esplanade specifically since 2010, beginning with my first solo full-length choreography Stree Katha. Since then, I’ve been back with my solo pieces, including Chandalika and Jwala, as well as ensemble works such as MARA (in collaboration with my brother, musician Aditya Prakash) and more recently She’s Auspicious.
It has been a pleasure to not only perform but also interact with other young dancers, who are curious and passionate, through companies/institutions like Apsaras Arts and SIFAS.
● You were in Singapore just weeks ago, with She’s Auspicious, and now you are back with a masterclass: Choreography in Bharatanatyam. What do you enjoy more — teaching or performing?
My immediate answer would be: performing. The immersion that it allows me is unlike anything else. However, once I’m in the teaching space — in class, sharing with others — the infectiousness of the art takes over and inevitably I enjoy teaching class… maybe almost as much as performing!
● You’ve performed in the United States, Canada, Mexico, United Kingdom, Europe, India, and Singapore. Where would you place Singapore as a performing venue and why?
I’ve always found Singapore an interesting mix between the “East” and the “West” — in the sense, the thirst for “tradition” and the recognition of conventional structures feel palpable in a way that’s similar to audiences in India; but at the same time, there’s an openness to push those structures and to engage in questions of why and how, which is sometimes less so in India and more so outside of it, depending on the context.
Of course, performing in a state-of-the-art venue like Esplanade is a pleasure. The views and location are stunning and always make me feel content, especially sitting along the water, eating that delicious coconut ice cream — and marvelling at my luck to get to travel to and perform in such beautiful places!
● Let’s dial back a bit into your personal side. You were born in the US. What did you study? When did you do your Arangetram?
I studied Mass Communication at the University of California, Berkeley. And I did my Arangetram in 1990 in Mumbai at the Kochu Guruvayur Temple before my mother’s gurus.
● Which area in the US is considered the epicentre of Indian arts and culture, especially regarding Bharatnatyam?
I don’t know if there’s such a thing as an epicentre of Indian arts and culture in the US. Now all major (and increasingly, non-major) cities are filled with Bharatanatyam dancers and teachers.
● You’re a diaspora kid and a lot of diaspora kids are making waves in the art/performance scene in India right now. Like Sid Sriram, Jonita Gandhi, Singapore’s very own Shabir, to name a few. How do you view their success? And what does that mean for other people from the Indian diaspora trying to make it in India?
I’m thrilled seeing the success of diaspora kids. I know Sid from time together in Chennai. Us diaspora kids would hang out a lot when we first moved there and were finding our footing. It’s incredible to witness their journeys. Each comes with a skillset combined with experience that is unique to oneself, and when things align and we find our voice and calling… magic happens. Sometimes, it’s on a big scale, and sometimes it’s on a smaller scale — but all equally serendipitous and magical.
● You chose a classical Indian dance form over Western dance. What was the reaction from people, especially Americans, when you started out?
I don’t know if I had the choice — I was born into a family that was obsessed with Bharatanatyam! My parents lived and breathed it and made it the centre of their lives.
I think there was surprise from the community and even my friends when I first decided to pursue my dance full time. At that time, it was not a particularly viable or stable career, and I was one of the early people in America to decide to do it “full time”. But to be honest, it was the encouragement of my parents that allowed me to make the decision.
Even I didn’t think it would be possible to pursue a career in Bharatanatyam, and had other career possibilities lined up. It was my parents who had the foresight to say, “You won’t be happy unless you give this your all.” They were absolutely right.
● You’ve also been mentored by Akram Khan. And Mr Khan will be performing, too, this time, in GIGENIS. How did your association with him begin?
Since 2008, I’ve been mentored by Malavika Sarukkai; and in 2017, when I met Akram Khan, he became a mentor to me as well. It started when he programmed a solo work of mine (Jwala) in the Darbar Festival (in London) that he was curating. Since then, I’ve been part of his choreographic process (Outwitting the Devil in 2018/2019; GIGENIS in 2024; and another new work set to premiere in 2025).
Over the years, I’ve shown him much of my work, sharing with him drafts at various stages. The process of interrogation with a mentor is incredibly essential to me.
Since I began following Akram’s work, I was always drawn to his craft, both as a choreographer and as a performer. I connect with his love for story-telling, which forms the backbone of much of my work as well. The generosity and investment he offers as a mentor is rare and truly a gift.
And to perform on stage WITH him is a whole other level of “gift” that I never dreamed of!
● You played an important role in the film Life of Pi. What are the memories you have of working closely with director Ang Lee?
My initial involvement in Life of Pi was as an assistant to the dance choreographer, and I later got cast in the role of Pi’s wife. In working with Ang Lee, I saw how much freedom he allowed the actors, which spoke to a level of trust he had with them through the process.
There was so much that was worked on and never seen in the actual film, including a whole version of the film with another actor as [author of the book] Yann Martel! This affirmed how ruthless and un-precious we have to be in the making of any art.
● What does the rest of 2024 and 2025 look like for Mythili Prakash?
It’s incredibly busy with touring and performance, switching between various projects — two of which are with Akram Khan, and the other two are my own touring works. In between that, I’m working on a new piece with two other dancers, premiering in 2026.
