With expertise in Bharatanatyam, nattuvangam, and choreography spanning over three decades, Suresh and Shobana have made a significant impact on the classical arts scene in Australia’s Indian community and beyond. At their Samarpana Institute of Dance in Sydney founded in 2010, they are passionate about sustaining authentic Bharatanatyam practice, enhancing the body-mind connection through movement, and training the next generation.
As a married couple, what does a typical creative day look like?
Each day at our dance institute unfolds differently. Year-end breaks are for reflection – evaluating progress, refining our curriculum, and strengthening student support. Once classes begin, our days revolve around teaching, yet creativity never rests. New choreographies emerge from spontaneous conversations, poetic inspirations, or an evocative piece of music. As artists and partners, creativity weaves seamlessly into daily life, balancing structured instruction with organic artistic exchanges between us.
Suresh, your book 108 Bharathanatyam Jathis has been well received. Tell us about it.
During lockdown, jathis filled our home – scribbled on scraps of paper, waiting to be shaped into something greater. Shobana saw order in the chaos and said, “Why not make it a book?” That spark ignited a year-long journey of meticulous notation, ensuring clarity in Tamil and English. Legends like Prof. C.V. Chandrasekhar and even a Western percussionist praised the book for its precision. The crowning moment? Receiving the title Laya Gnaana Thilagam for Suresh. What began as scattered thoughts, the book has become an invaluable resource, complete with audio links, now resonating with dancers worldwide.
Your views on Arangetram and advice to students?
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Bharathanatyam is a journey, not a destination. Yet, many rush towards an arangetram, mistaking it for the final curtain instead of the opening act. True mastery lies in the quiet discipline of perfecting adavus, in the depth of abhinaya, in the humility of lifelong learning. Observing seasoned dancers, immersing in literature, and practicing consistently – even briefly but with focus – refines technique. As our guru Prof. C.V. Chandrasekhar embodied, grace is not just in movement but in the willingness to grow.
Some of your best performances in Australia?
Our most meaningful performances in Sydney have been where we have presented traditional Bharathanatyam pieces – jathiswarams, pada varnams, padams, javalis, and thillanas – staying true to their South Indian origins. With limited platforms for high-quality Bharathanatyam, our work in building a growing audience that values authenticity continues. At the same time, we embrace every opportunity to educate and experiment, using Bharathanatyam to tell new stories and explore new texts.
Tell us about your award-winning film and your involvement with audio-visual arts.
In 2018, with funding from Blacktown Arts Council, we produced Our Country, a dance film exploring Dorothea Mackellar’s iconic poem My Country through Bharathanatyam. Suresh’s original jathi compositions captured Australia’s landscapes and wildlife, while abhinaya, costumes, and choreography brought the poetry to life. With artistic direction by our student Vishnu Arunasalam, videography by Dioscury Photography, and poetry recitation by Srisha, it was a truly collaborative effort. Selected for the Rollout Dance Film Festival in 2020, this project fused classical dance with visual storytelling, a creative milestone we deeply cherish.
Your relationship with Margazhi and international artistic ties?
Before Australia, there was Chennai – Margazhi seasons steeped in learning and performing. Suresh’s nattuvangam resounded in sabhas, while Shobana graced festival stages. Migration, family, and responsibilities changed the landscape, yet we returned annually – studying under our guru Prof. C.V. Chandrasekhar, until his recent passing. Shobana refined abhinaya with Bragha Bessel, while workshops with Sheejith Krishna reshaped our creative lens. The Thenangur camp with Natyarangam was a privilege, surrounded by wisdom and emerging talent. Now, as our children grow, so does our longing to re-immerse in Margazhi’s magic.
What message do you want to give to Australian festival directors?
To festival directors, we say this: If you seek authentic, high-quality Bharatanatyam that honours tradition while engaging with contemporary themes, we are ready to offer a range of productions. Some have already been successfully staged; others are in development – all crafted with artistic integrity and relevance. We hope to bring Bharatanatyam to broader Australian audiences, not just as a cultural artifact, but as a powerful, evolving art form.
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