Dance like a man

I was a natural dancer since childhood and was known for my ‘exhibitionist’ tendency. I first learnt the Malay traditional dances informally while preparing for my school’s annual day shows. In those days,children hardly had any exposure to professional dance classes. I started attending ballet classes in Australia seriously only as a teenager in the ’70s.

Did you face any obstacles since you came from a conservative family?

As I was the youngest in the family,I was a rebel. Academically,I was quite good and my parents had nothing to complain. After finishing my mechanical engineering,I convinced them to give me some time to pursue what I truly loved and believed in.

How did your parents and immediate family members react?

Though my parents were staunch Muslims,they were supportive. When I performed at the Sydney Opera House with the Sydney Dance Company,they came all the way to see me. But when I returned to Malaysia in the early ’80s,there was a strong wave of Islamic fundamentalism in the country. I performed a Shiva dance in provocative costumes. That time my immediate family members thought that I had gone crazy and needed help.

(Laughs)

What prompted you to learn various forms of dance like Bharatanatyamand Odissi?

Since Malaysia has a strong South Indian community,I was exposed to Bharatanatyam. I was fascinated by the rhythm,gestures and facial expressions but I did not methodically learn it until I was in Australia. I studied it simultaneously later with ballet. By this time,I was consciously aware and fascinated by the Asian civilisation particularly Indian. I was reading about Indian philosophy,sculpture and dance became an extension of this fascination as it touches on all other aspects of Indian culture and arts.

How have these dance forms honed your skills as a dancer?

Indian classical dance,especially solo forms such as Bharatanatyam and Odissi,cultivates an artiste’s persona holistically. An Indian dancer has to be adept not just physically but emotionally and spiritually too. So we end up looking at dance not just as a physical form but as a complete aesthetic,emotional and spiritual experience.

What were the greatest lessons that you learnt from your mentors Adyar K. Lakshman and the late Guru Deba Prasad Das?

From Lakshman,I learnt the elegance and symmetry of Bharatanatyam,while Deba Prasad made me aware about the power of dance when creativity is unleased from a more primal source.

What prompted you to set up your dance company Sutra Dance Theatre?

When I performed in Malaysia for the first time in 1983,I was already a professional dancer and had performed at major venues of the world. I found it exasperating to dance in unaesthetic conditions. Dance for me is an expression of perfection. Once you enter the theatre,a performance should transport you to a special space. One of the main reasons for starting my own dance company was to be able to present works which strive for this total experience. Sutra’s general ideology is also about promoting awareness of theatre and arts,establishing a dynamic school of dance and collaborating with other artistes. I strongly feel that Bharatanatyam and Odissi are a part of the multi-cultural experience of multi-racial Malaysia. After all,dance is supposed to be timeless and transcend all boundaries. You have been innovating with your productions.

Which are some of your most famous productions till date?

We have started touring with Odissi Stirred in Malaysia and will continue touring on returning from India. In August,we will be in New York for the Downtown festival besides touring other states in the U.S. In September,Battery Dance Company and Sutra Dance Theatre will collaborate on a new production,Into The Centre. I believe that works created must be fully exploited by performing them as many times as possible.

How would you describe your style of choreography and performance?

Choreography for me relates to contemporary modern works,which demands that you create new modes and approaches,whereas,in traditional works,there is collective responsibility. Sutra has been in forefront in the creation of contemporary modern dance works rooted in Asian dance traditions. Too often we have been rummaging through the garbage cans of U.S. and Europe for our modern dance inspiration. India has choreographic geniuses whose works are rooted in indigenious dances yet are modern in concept.

When you look back,do you think Bharatanatyam and Odissi have changed as dance forms?

Definitely,both classical styles have undergone many changes. For instance,there are many festivals in Orissa where Odissi reigns supreme. New works,especially group performances catering to large audiences,seem to be in vogue. Bharatanatyam is less commercially driven but seems to be stultified by its own over-intellectual approach. Having said that,all dance forms are relevant. But I’m interested in ‘serious’ dance as opposed to ‘commercially- driven’ dance as the latter has its own trajectories. Your performance at the NCPA will represent your extensive choreographic work. Can you describe your performance?

Vision Of Forever is one of our major productions and in many ways,one of Sutra’s best work till date. The work focusses on the spiritual awakenings of an acolyte who eventually encounters the vision of glory of the universal spirit through dance.

How has dance influenced your individual personality?

My personality has been empowered by my dance experience. Today I have creative ideas and am quite adept at solving problems,thanks to dance. (Smiles). Ramli Ibrahim performed Vision Of Forever on June 30 at Mumbai’s National Centre Of Performing Arts to help raise funds for NGO Vidya.