When Sheena Chundee and Deepa P Mani, two Melbourne-based dancers of Indian origin, met just before the pandemic, it opened the door to a collaboration.
Despite their diverse dance backgrounds, they realised they shared a common goal: to empower the next generation with a resilient cultural identity.
Their meeting was sparked by this shared vision shortly before the pandemic. Now, two years later, they are embarking on their first dance project called TOUCH, which aims to raise cultural awareness, challenge biases and prejudices, and redefine people’s views of acceptance. (More on that later)
Sheena, who learned ballet as a young child at The Royal Ballet School in London while growing up in the UK, developed a deep passion for becoming a ballerina.
“I trained in classical ballet and various dances from other countries during my time there,” says Sheena. Her dedication led to her earning a scholarship at a prestigious boarding school that offered specialised ballet training alongside academic studies.
She would later work with dance companies in Europe, performing both ballet and contemporary dance. In addition to performing, she took on the role of a choreographer for different groups and companies.
Similarly, Deepa, who learned Bharatanatyam as a child in Chennai, India, carried her passion for dance to the United States, where she pursued further studies.
As part of a dance company in the States, she began immersing herself in contemporary works. On relocating to Australia, she continued her dance journey under the tutelage of Dr Chandra Bhanu. In 2018, she set up her own dance school, Chandralaya.
Interestingly, both Sheena and Deepa met their Australian partners and moved to Melbourne at the same time in 2009. It is here that they started exploring collaborations to produce art and address issues of identity.
Recalls Deepa, “I visited the Art Centre at the beginning and noticed the absence of diversity. Coming from Washington, DC, a vibrant hub of culture, where I regularly performed at the Shakespeare Theatre and fringe festivals, I observed that while the resources were available, the access for people of colour seemed limited. This intrigued me and motivated me to delve deeper into the local arts scene.”
And just before Covid hit, Sheena, who runs Rebel Stepz Arts, which creates educational and artistic programs for schools, community organisations, and workplaces, was planning an art exhibition based around dances.
When Deepa reached out to her, the idea of TOUCH evolved from that conversation, she reveals. They started working through the two years, and it has now reached a point where it will happen. This October at the Melbourne Fringe Festival, TOUCH will make its debut.
What Sheena and Deepa are putting together is a piece that serves as an advocate for social change by addressing social issues, challenging stereotypes, and promoting equality and justice.
Through the incorporation of diverse styles and movements in ballet and Bharatanatyam, they aim to push against existing norms and ignite conversations about inclusivity and social progress. By showcasing the juxtaposition between these art forms, TOUCH emphasises the differences between cultures and beliefs.
Unearthing the question of why there is a need to do so, Deepa argues that Bharatanatyam, a classical Indian dance form, has not yet gained mainstream recognition in Australia and is not given the same level of acknowledgement as ballet.
“So, this piece came to mind. I needed a platform like the Fringe festival to initiate these beautiful conversations. I was searching for someone, and you placed yourself there in terms of creative visualisation, and that’s when Sheena emerged,” says Deepa.
The conversation between Deepa and Sheena revolved around the striking similarities between both dance forms and how they shared a common foundation. However, Bharatanatyam often did not receive the same level of commercial recognition as ballet, despite its inherent value and beauty.
“We addressed the isolation we felt in our art forms. Ballet’s commercial nature and the racism I experienced as a dancer of colour were discussed, highlighting how being confined to a specific box contributed to these issues,” says Sheena.
Sheena reveals that the first part of the act will consist of two solos, each highlighting the unique features of the respective dance styles. This will be followed by the final and most impactful act, where the audience can witness the emergence of a universal language within both forms of movement.
Right now, Sheena and Deepa are focusing on the project and seeking to raise funds for rehearsals and performances. “The search for an ethnic ballet dancer poses significant challenges, which further reinforces the central message of the piece,” adds Sheena.
The duo hopes their piece reaches people’s minds and makes them think: that people can coexist regardless of their backgrounds as long as we don’t box them.
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