In Conversation With Anita Ratnam On Weaving Dance Into Life And Curating Living Ecosystem OF Art In India

Some performers don't step onto the stage, but arrive like a tide. It is true for one of India's most celebrated classical dancers, Anita Ratnam. Fondly called Akka by some and amma by many others, she is mother to many in the dance world. Anchored in centuries of tradition, she is forever restless to find new shores. In her dance, the ancient becomes immediate, and the mythical turns intimate. Ratnam is both custodian and creator. And dance, for her, is not performance, but a language, a prayer, and a journey where every expression is an unspoken truth. Moreover, dance for her has never been confined to the stage. It flows through her morning walk, the conversation over coffee with friends, the rhythm of laughter on long train rides, or even the quiet rituals of bathing or cooking. "Every act in my day is like a dance," says the Bharatanatyam dancer. "There is a rhythm, a pace, and momentum that we all respond to."

It is this philosophy that has enabled Ratnam, a cultural visionary, producer, archivist, mentor, and intersectional thinker, to create what she calls a 360-degree ecosystem for the arts. "It is not only about performance, but about the support structures that sustain artists, institutions, platforms, funding, and community," says the Chennai-based artist.

Fusing Tradition with innovation

Over the last three decades, Ratnam has bridged the gap between tradition and innovation by bringing together Bharatanatyam, Mohiniattam, Kathakali, theatre, ritual practices, folk forms, and even meditative arts into her member vocabulary called Neo Bhararam. She has performed across 37 countries, created platforms such as the Narthaki directory and festivals for experimental voices, and served on cultural bodies that shape national policy. Yet at heart, she remains a storyteller who insists art must survive alongside life with its resilience and infinite possibilities. "Life is a messy, chaotic, adventurous choreography, and movement is the first instinct of human expression," she says.

Anita Ratnam has been a performer for four decades (ETV Bharat)

After staying in the United States for 15 years, where she worked as a television producer, media professional, and mother, she found the dance scene evolved in India multifold upon her return. Traditional sabha circuits still dictated much of the Bharatanatyam world, but Ratnam, with her cross-disciplinary instincts, did not fit into the mold. "I had to re-enter the cultural discourse without sacrificing the lessons I have learned abroad," she recalls. The solution, then, was to combine her multiple identities as a dancer, producer, writer, speaker, and organiser and make a new model of arts entrepreneurship. That vision breathed life into Narthaki, a directory of 2,000 dancers and addresses across the world.

A Pioneer of Shared Experiences

It was released in 1992, long before email or social media, and became the first-ever global network of Indian dancers. This ecosystem now defines her legacy. From organising mini-festivals that showcased her work alongside others, to producing for experimental voices, Ratnam has been both performer and enabler. "I believe shared experiences are richer. It forced me to become a producer of live arts." Her experience in television in New York helped her feed her learning into dance production. She insists her students learn not only choreography but also lighting, sound, backstage duties, and interpersonal skills. This approach has evolved into what she calls, "360 degree cultural ecosystem."

Wearing multiple hats as dancer, festival curator, producing shows, archiving, hosting conferences, and serving on cultural panels, Ratnam is self motivated. And when asked what keeps her going, she responds with a simple answer: curiosity. “The larger challenge is the ability to dream rather than funding. That is a privilege I acknowledge. The world needs dreamers, and consistent support requires focus, self-belief, and a network of cheerleaders," says the custodian of classical dance forms.

Anita Ratnam is a safe space for many dancers (ETV Bharat)

Rooted in Simplicity

For her, dreaming means daring to innovate, and with Neo Bharatam, she reimagined classical vocabulary by blending it with folk, theatre, chant, personal diaries, and contemporary expression. But she resists labels like 'fusion' or 'hybrid'. "A true vocabulary must be digested and absorbed. It cannot be cut and pasted," she explains. Her innovations were once criticised, even excluded from major festivals, but she continued building her own audience through afternoon shows for students at unconventional auditoriums. She warns against the search for instant validation through likes and views on social media. “Originality is rare. Success tied only to social media is dangerous. You must dare, fail, and stand up again," insists the dancer.

While she firmly believes in experiments, staying rooted to the culture is non-negotiable for her. She grew up in urban setting, but her extensive travels exposed her to the simplicity of village life up close, which helped her stay connected to everyday India. She confesses that those experiences of eating in roadside dhabas, conversing with chai wallahs and farmers, helped her appreciate folk and ritual traditions. For her, cultural leadership lies in "stepping back so others can step up." She argues that temple art needs space and patience. "True art invites you to lean in and absorb rather than putting a big show in the proscenium stage or Instagram reels."

Anita Ratnam, a classical dancer and custodian of art (ETV Bharat)

Activating Ideas, Not Tokenism

Over the years, Ratnam has staged some of the noted performances, including A Million Sitas and Ma3Ka. She accepts that there's a difference in the way audiences respond to Indian dance abroad. However, her real challenge is the deepening Indian and Asian audiences' engagement with experimental, non-athletic, intersectional work. She says the role of art in society is complex. While many push for "activist art" and "protest art", she resists tokenism. "Art for art's sake still matters. The compulsion that one has to be a “true artist” and respond artistically to the political and social changes in society is not correct. Some artistes feel strongly about issues, others choose to read, listen, and talk about it in private and not through their art. Why should one be privileged over the other?" asks the dancer. She argues that her work engages with women's stories from mythology, reframed as a catalyst for reflection, rather than direct protest. "I see my role as activating ideas," she expresses.

And yet, she does not shy away from leadership. Serving on cultural panels in Delhi, she has argued passionately for South Indian and marginalised voices often overlooked by national institutions. "The artist in me takes a backseat on committees. But the responsibility is to ensure diverse voices are recognised," she notes.

After four decades in the arts, Ratnam is often asked about the longevity of her career and being relevant in the 21st century. She responds with the same balance. Discipline, time management, collaboration, health, and passion are on her life template. Outside of dance, she values friendships, her interest in poetry, sports, and museums that keep her going with grace. "Sports teach you to compete, to give your best, and to face victory and defeat with grace," she says, and urges the young dancers to "put down the mirror and phone, and look outward at the wonders of life itself."

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