Written by: Haroon Shuaib
Posted on: May 17, 2021 | 
| 中文
Guru Indu Mitha and Tehreema Mitha from
Tehreema Mitha, Pakistan’s foremost if not the only Bharatanatyam dance practitioner, describes herself as “never in a box; fitting no tidy slots”. Besides being an exponent of Bharatanatyam, a dance style that dates back to 600 BC, and exploring new dimensions in contemporary dance, Tehreema is also a choreographer, composer, and visual artist. Tehreema’s mother Indu Mitha, recipient of President's Award for Pride of Performance in 2020, learned Bharatanatyam from some of its most prominent maestros and kept performing for decades despite unfavorable societal attitudes. For Tehreema, her father’s encouragement and her mother’s knowledge of Bharatanatyam led to a lifelong affaire de coeur with dance.
“From the age of 7, I started joining the dance classes my mother used to arrange wherever my father would get posted as he was in the Pakistan army. My basic language in dance perfected because every time we moved, my mother started afresh for a new set of students. I had an inherent yearning to find a physical expression of my artistic abilities. I studied English literature, philosophy, and painting but I needed something that was a mix of creativity and physicality. I am lucky that Ammi was teaching Bharatanatyam, which by the way is physically a very strenuous dance style. It has so much to offer as it has visuals, music, expression and athleticism.” Tehreema admits that she is most happy when she is preoccupied with something creative, and dance proved to be the best possible channel for her creative fulfillment.
“Regular 9 to 5” – a contemporary dance (photo credits to William Barron)
Bharatanatyam was primarily used to depict religious themes and spiritual ideas in south of the Indian Subcontinent. Originating in the temples of Tamil Nadu, this particular dance style is one of the eight established classical dances of this region; others being Kathak, Kuchipudi, Odissi, Kathakali, Mohiniyattam, Manipuri, and Sattriya.
Cognizant of the ever-evolving heritage of South Asia, Tehreema feels that people often fall prey to shortsightedness when defining their cultural heritage. “The audiences in Pakistan have not seen many classical dance performances. Their references are either from Bollywood or at most they may be exposed to Kathak, which is a classical dance often affiliated with the Muslims of the Subcontinent. This is actually a fallacy. If you look at some of the earliest Mughal miniatures, you notice that the court dancers are depicted with knees bent outwards, which is a posture more likely of Bharatanatyam than Kathak. Also, looking at the costumes, one can trace how gradually Mughal clothes were adopted by the locals who lowered the pleated shirts and introduced choridar pajamas (fitted pants). Likewise, the same indigenous dance forms that have been mentioned in the Natya Shastra, the ancient Sanskrit text on performance arts, were brought into the courts from temples and outdoors.” Tehreema said while explaining the link between the ‘Aramandi’ or ‘half sitting posture’ of Bharatanatyam and Kathak.
“Aatma (Spirit) on the Line” – a contemporary ensemble dance about how technology has changed human relationships (photo credits to William Barron)
“Basically we need to understand that culture and its various manifestations are constantly evolving. I am amused when such misconceptions about a certain art form are associated with a certain religious group which gets challenged, forcing my audiences to introspect. We must claim our heritage in its totality.”
Tehreema’s ‘arangatram’, the first time a serious dance student debuts in front of an audience, was in Lahore in 1986. From then on, Tehreema never looked back. “I definitely chose dance out of my own passion, as my mother was not keen that I should pick up dancing. I always had to push my way for my mother to teach me. I was particularly fascinated by Bharatanatyam as it has a lot of force in it and it uses a lot of space. It has its own sensuality and lyrical aspects too, depending on what you want to say and how you want to say it. I didn’t find Kathak to be athletic enough, it is more circular and it has a limited usage of space. Bharatanatyam suits my personality as maybe I am somebody with a lot of corners.” She admits with a smile.
Perhaps this force and athleticism, coupled with her innate creativity, made it possible for Tehreema to explore her range further and venture into contemporary dancing from an early age. She moved to the US after her marriage to William Barron, a man who fully supports her passion for dance, set up her dance company in 2001, and started choreographing new stories. She kept adding to her repertoire, composed music for her dances herself, and also designed costumes. Tehreema recollects, “I have about 70 dances that I have choreographed and performed around the globe, including Germany, Canada, England, Norway, India, Guatemala, Afghanistan, and of course in the US and Pakistan. In China I performed twice; once for the First UN Women’s Conference in 1995, and then again at the Shanghai Cooperation Organization Conference in 2006.”
While staying true to the grammar of classical Bharatanatyam, comprising of 62 basic movements, Tehreema has a range of dances in which the traditional bha’o (expression), ra for ragas, ta for taal (rhythm) and Natyam (drama) i.e. Bharatanatyam is fused with contemporary sensibilities. Refusing to be labeled as an ethnic or oriental South Asian dancer, she prefers to associate with the world culture.
Tehreema with her husband William Barron (credits to the family)
“I have choreographed many classical-contemporary routines, which I also refer to as my bridging pieces, and then some which are only contemporary. The first classical routine that I choreographed in which my mother and I danced together is titled, ‘Kul Kainat Raqs-kunan Hay’ (The whole universe is in a state of dancing). There are many other such as 4 dances on the 4 elements which are ‘Leher’ (On the Tide), ‘Baad-e-Sabah (A Fresh Morning Breeze), ‘Atish Angaiz’ (Igniting), and ‘Ma Matti’ (The Scent of My Earth) that I subsequently added. What is wonderful is that so many stories can be told without compromising on the technicalities of Bharatanatyam. My mother always encouraged the improvisations that I introduced as she knew that I was honest and never compromised on my technique, and that I kill myself while practicing till I perfect it,” Tehreema said.
“Jathiswaram”, a technical dance (photo credits to William Barron)
Tehreema has also introduced some real innovation in her contemporary pieces from choreography to music. Her contemporary dances include musical scores of western instruments such as Spanish guitar, Western and African drums and saxophone. “I have put together some purely contemporary pieces such as ‘Raqs-e-Rooh’ (The Dance of the Soul), ‘Aasar-e-Ghaib’ (Signs from Unseen), ‘Khalla’ (Running Out of Empty), and ‘Blackout’, where I have radically experimented with choreography, themes, costumes, and music. I am always working on something new and I want to choreograph with bigger groups of at least 15-20 dancers. We have many interesting stories to tell from our culture that will be fascinating for the rest of the world, if communicated through dance. If you are someone who has a burning need to tell a story and tell it in a way that no one else has ever told it, and if you have the required skill and know the technique, then there is no stopping you,” she emphasizes.
Tehreema’s passion for dance, and the honesty with which she continues to tell new stories is unique. Her mastery of Bharatanatyam, and her creative amalgamation of this charming style with contemporary dance means that while Tehreema remains true to her technique, she refuses to ever stop challenging the conventional.
Raqs-e-Rooh (The Dance of the Soul)” - a contemporary dance (photo credits to William Barron)
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