Woman in Love (Sunday People)

First published in New Straits Times, Sunday People
20 January 2008

Woman in Love 

MAX KOH

IT’S a dark night as I walk down a quiet street in Brickfields, my path illuminated only by the headlights of passing vehicles.

But as soon as I enter The Temple Of Fine Arts, I am greeted by a flurry of activity: Indian ragas emanating from portable cassette decks, children stamping their feet to the tala (rhythm) being played, and students swirling in dance as their parents look on proudly.

I was there to speak to an emerging artiste — Hemavathi Sivanesan or Hema — who has just performed her arangetram (graduation performance) last September.

Among those in the audience that day was acclaimed international dancer Mavin Khoo.

“With Hema, I saw the potential of a dancer who has a destiny with dance,” said Khoo who then proposed a project to further hone her skills.

“All I do is to provide a platform for her to further develop herself as a dancer and an artiste.”

Khoo feels that after a dancer’s solo debut, the performer usually takes a step backwards — a psychological reversal — instead of developing herself as a solo dancer.

“I wanted to tap into the physical and emotional energy that was still present. The next step was necessary in the tradition of Indian classical dance — a two-hour solo repertoire.”

Which brings us to Hema’s maiden solo performance called Mardhuya: The Sacred Feminine On A Journey of Love. The dance is choreographed by Khoo, who once trained under Hema’s mother, TFA’s senior dance teacher Vasuki Sivanesan — a “perfect cycle”, he adds.

Says the 20-year-old Hema: “Mardhuya is essentially about love. It is about the different types of experiences that a woman goes through in her life.”

To explore the nuances of the female spirit, Hema had to tap into her own emotions and explore the many different expressions of feminine love.

Says Khoo: “Classical Indian dance has always been imbued with so much spirituality. However with Mardhuya, I choose instead to focus on the theme of love that is so universal and accessible to everyone.

“In the classical Indian form, there are specifics ideas about who you are. What I try to do with Hema is to develop a relationship between the dancer and form, and eventually enable the dancer to find herself as a modern person living within the art form.”

Hema began studying ballet at the age of four. She took to bharatanatyam when she was six years old, under the guidance of her mother, Vasuki.

But it was only in Form Four that Hema says she realised her true calling.

“It’s funny but I always wanted to be a doctor. But it was at that time when I realised I kept thinking about dancing and how I love to be in that world.”

But the dancing world is no bed of roses as Khoo describes it: “A career which you must constantly improve yourself because the next day, a new face will always emerge.”

“That is why I’m actually envious of Hema. She is still in that mental stage when it is all about the art,” says Khoo.

“And she will be fascinating to watch. She’s now at the foetal point as an artiste. In 10 years, when you see her perform again, you’ll appreciate it even more as you’ll see how she has developed as an artiste.”

“Khoo is not only a teacher but also a good friend to me,” says Hema. “I think my understanding of the art form has deepened from my time with him. And it really helps a lot as I will be going to Perth to do my degree in performing arts.”


Hema performs Mardhuya: The Sacred Feminine On A Journey of Love, with nattuvagam (chanting to the exact beat) by Mavin Khoo, on Jan 25 at 8pm. Venue: Actors’ Studio, Bangsar Shopping Centre. Admission by a minimum donation of RM30. Invitations available at the Temple of Fine Arts, Brickfields, KL. Call 03-2743709.