Sonia Sabri - in discussion with Shezad Khalil
December 2009
Trained in Kathak, Sonia Sabri constructed her dance company in 2002 and accordingly has formulated a number of group as well as solo compositions, permitting her to extend the many possibilities of this classical dance mode. In the following interview, Sabri reveals her enthusiasm for generating her solo dance structures and the many facets that influence her work.
Shezad Khalil: In your view what are the key aims and principles of the Sonia Sabri Company (SSCo)?
Sonia Sabri: I was fed up with seeing Kathak being constructed and presented in the same old way. I questioned the artistic decisions one makes within a creative Kathak format. I knew there were various opportunities and I wanted to "physicalize" what was going on in my head. I was a solo trader for quite a while. I worked with people of different genres: music, dance, mime artists. I came up with many composition techniques and I began to formulate my own pieces. I wanted to retain a classical element to my constructions, but at the same time I also wanted to push the boundaries of Kathak further. As a company, we present Kathak, that is classical as well as contemporary and "Urban Kathak". For instance, it is important to me that we provide a reflection of what is occurring within the nation that I have been born and reside in. Therefore, it is vital that my experimental work mirrors the many cultures that Britain comprises of and how the customs of the younger generation are continuously progressing and evolving, in comparison to the almost “static” and “fixed” traditions of their elders. However, the basis of our work remains to be situated in the fundamental rules and components of Kathak: gesture, expression and technical vocabulary. In returning to my point regarding the extension of Kathak, the pushing of boundaries is crucial as it can open up so many possibilities because it is important to remember that we are in a different place, in a different time and we speak a different language. This has been inspired by the choreographer Shobana Jeyasingh. I see her as my mentor. Shobana has created her own signature and she understands how to push forward an aesthetic like her own art form Bharata Natyam. When I worked with her, I took many impulses from her and fed them into my own inventions. Thus, asking these types of questions made me think, move and compose pieces in a different way. Shezad Khalil: Let’s talk about your preference for solo compositions. What has led you to produce these type of constructions rather than ensemble work?
Sonia Sabri: I’m very particular about how Kathak is danced, as throughout the processes of construction I’m working on developing a very personal style. It’s difficult to have someone from another school of thought and retain their dance styles and experiences. I prefer to see the individuality of a dancer. However, in terms of solo work, I believe that not much justice has been done to this type of exertion. By producing solo compositions I aim to broaden people’s appetite for dance so that they see solo formation in a new way. In the current dance climate there seems to be more emphasis on group work or a "spectacle" which is only one aspect of the dance repertoire. Solo is another aspect of the range which requires the spectator to have a different understanding and appreciation of the work. Personally, I feel it creates a sense of intimacy and a magnified opportunity to appreciate the skill and virtuoso of the dance artist. Shezad Khalil: How do you expect solo work to be seen by choreographers, dancers and audiences?
Sonia Sabri: Solo work is very difficult to do. Even some of the greatest choreographers have said "No" to choreographing solo compositions for me, but are very happy to craft a duet etc. Solo pieces are very demanding and challenging. I like making the impossible possible. Then again, it’s important to remember that not everyone is a soloist as some choreographers and dancers can carry it off and some can’t. For example, I remember when I approached a prime venue in London about staging my work. Their immediate response was ‘No’ because it was too much of a risk. They felt that audiences were used to seeing more ensemble work, but then when they saw my DVD of the work and experienced a live performance elsewhere in addition to the positive reviews, they booked my company. Shezad Khalil: How is the dance vocabulary of SSCo similar and/or different to the work of the choreographer and dancer Akram Khan?
Sonia Sabri: With Akram, as he’s the only other Kathak reference, he is doing something that is very personal to him. He’s not altering the Kathak form, but instead, is moving contemporary dance forward. He’s applying the dynamics of Kathak to his contemporary dances. However, my work is contemporizing Kathak because I’m pushing the margins of Kathak forward and at the same time preserving the essential elements of the classical form. Shezad Khalil: How do you feel about the use of such overstated labels as: "contemporary Kathak", "fusion’" and "hybrid" that describe the work of British South Asian choreographers and dancers?
Sonia Sabri: It’s desperation to get noticed. It’s a means of ticking the box. It all begins with funding and as a result your work becomes conditioned. In order to obtain funding, you have to make your work sound unique and ground-breaking. Unfortunately, once you’re in this cycle, the label or labels carry on with you throughout your career. Therefore, what I’m saying is that in order to be noticed, some dancers feel they need to "fuse" or look similar to the dance companies around them. For example, incorporating elements of contemporary dance into the work is a means of ticking the correct boxes because it shows that people can relate to the compositions, as it’s "modern" and relates to the here and now. I have seen some dance creations that have made me feel that certain aspects of the work have been "forced." Artists should listen to their hearts and not to what they think people want to see. Personally, I feel that there is a globalizing of dance as you can’t be too different. Some people can lose sight of professional and organic development. Shezad Khalil: Why has there been an increase in British South Asian dance forms over the last decade, and less so of South Asian classical forms?
Sonia Sabri: It’s easier to do something different. For example, the use of Bharata Natyam with a contemporary influx from a contemporary dancer is perceived as something original and innovative, whereas seeing a classical dancer remaining strictly attached to a traditional form can be less appealing for some twenty-first century observers. Also, to produce a classical dance well is very difficult as it requires "riyaaz," that is many hours of intense practice, and even when one becomes a professional artist, “riyaaz” is crucial, more so than innovation. Today, people are living in the fast lane. Those people with the intention of becoming dancers would rather learn a fragment of everything, a "pick and mix" and start creating their own work, not having specialized in a specific area of dance. Furthermore, there is a danger with these methods of presentation in that some spectators do not realize that a dancer may be dipping in and out of several styles of dance because they are unaware and uninformed about what is occurring. For me, what I do find interesting is that many people are aware that if they learn a style of classical dance, it will enhance their overall skills in dance. For example, I have many students in my classes who actually perform Bollywood dance but come along to learn Kathak as it assists in the improvement of posture and alignment. Shezad Khalil: Finally, do you familiarize yourself with historical material and references in relation to your creative work?
Sonia Sabri: I do when I’m looking at an old composition and it’s a very culture specific work because I’m not of that time and place. In "Phagun" from Parallels, 2008, a piece that concerns itself with a woman waiting for her beloved, many of these references are very specific to India. ‘Phagun’ is a season like that of Winter and in this particular piece the season is almost drawing to an end and transferring into Spring. To prepare for the arrival of Spring, celebrations begin to commence: one decorates the front of the house with Rangoli patterns, lights a fire which is symbolic of the Hindu demoness Holika who was burnt as a result of her immoral behaviour. These merriments also entail people filling water tubes with coloured water to drench their friends as a form of play. Women also dress up, light incense and even wear mehndi which entails the use of Henna in order to adorn specific parts of the body. But the main character in ‘Phagun’ has been doing this for several years in hope that her lost love will finally return home. It is a piece that contrasts her longing, sadness and loneliness with the celebration of the arrival of Spring. Furthermore, there are specific references in the poetry which can only be done justice if one encounters similar experiences, or close to it. For this type of work, I often read other literature that is based on similar themes. Also, I speak to people who have experienced some of the elements or glean from their own interpretation and sometimes I will make the effort to experience it for myself in India. 
