Madhu Nataraj: How Bengaluru's Fusion of Tradition and Modernity Fuels Artistic Innovation
For celebrated dancer and choreographer Madhu Nataraj, Bengaluru serves as a perpetual source of nourishment for her artistic practice. "Bengaluru represents a beautiful meeting and collision of tradition and modernity," she explains from her studio in Malleswaram, an area that hosts both 800-year-old temples and the city's trendiest hangouts.
This dynamic coexistence, she believes, has kept her creatively rooted. "When I moved here, I could attend a traditional temple concert in the morning and, the very same evening, experience a fabulous jazz performance. This environment allows you to embody multiple artistic identities simultaneously," Nataraj reflects.
Building a Contemporary Dance Legacy from Scratch
For Nataraj, the connection between Bengaluru and her art remains instinctive. "Dance reflects life; it mirrors our existence. Imagine what that means for dancers. Bengaluru has enabled me to keep my craft relevant through changing times," she emphasizes.
Madhu recalls being a pioneer in her field. "When I established a contemporary Indian dance company, there was absolutely no precedent," she reveals. She constructed her company from the ground up, frequently working with dancers lacking classical training.
"I began training hip-hop artists and young performers who were primarily engaged in funk and Bollywood styles. I auditioned them, initiated their training from scratch, and developed successive batches of dancers. Some remain with the company, while others pursue different paths," she details.
Bengaluru's Evolution and Artistic Adaptation
Nataraj traces her artistic journey alongside Bengaluru's own transformations. "When I relocated to Bengaluru, the city was renowned for its artists, lush greenery, and activism. Then came the IT revolution that provided crucial support for the arts. Subsequently, the startup culture emerged. What has remained constant is the city's adaptive nature, requiring artists to evolve similarly," she observes.
Madhu's response to changing times has involved moving beyond conventional performance spaces. "My projects actively bring the arts directly to audiences," she explains. "We perform in unconventional venues like dhobi ghats, public parks, and classrooms. Once audiences become engaged, they consistently return for more."
Her philosophy centers fundamentally on audience development. "I inform the parents of the 200 children in our training batches that perhaps three will become professional dancers," she states. "However, the remaining 197 will likely attend dance performances, purchase tickets, and support the arts throughout their lives. The arts constitute a vital undercurrent of society. We often underestimate their profound role in our daily existence."
Art as Emotional Scaffolding During Crisis
Nataraj firmly rejects the notion that arts become dispensable during difficult periods. "Consider what the arts accomplished during the COVID-19 pandemic. Art transformed into emotional scaffolding. That represented the primary reason people experienced happiness during that challenging time," she asserts.
She also discusses fundraising initiatives for folk artists during the pandemic. "We raised essential funds for Karnataka's folk artists. What profoundly impressed me was their remarkable sense of dignity. They maintained their pride, requesting support for merely two months before confidently stating they would manage independently."
Upholding Artistic Dignity and Respect
One principle Nataraj refuses to compromise involves the sanctity of the performance space. "We prohibit food and beverage service during our performances. Approximately eighty percent of my potential shows are lost due to this policy," she reveals. "When a performance is underway and someone requests extra salt for their soup, their attention becomes completely diverted."
Her frustration extends to how folk and traditional artists are frequently treated at events. "Recently, at a performance, I observed Yakshagana artists walking through the venue," she recounts. "Initially, I thought, 'Excellent, they're preparing to perform.' To my profound shock, they were actually serving drinks. Performers have even been utilized as decorative elements. Artists cannot be disrespected in such manner."
