In search of her 'karmabhoomi'

She came to India from the USA as an eager 20-something with a passion for its cultural traditions mingled with nervousness about “fitting in” and completing the brief study period. Today, Sharon Lowen is a celebrated exponent of Odissi and Mayurbhanj Chauu with several firsts to her credit, recipient of rave reviews for her performances, NGO-founder, cross-cultural collaboration-consultant and a much-respected dance teacher and choreographer.  

Given her experience in bridging cultures, she has organised several Videshi Kalakaar Utsav Festivals and Art Without Frontiers seminars. She has also appeared in an award-winning Telugu film, Swarna Kamalam, by K Vishwanath. 

Her performances are particularly admired for her highly expressive abhinaya, grace of movement and hasta-mudras.

Sharon has made India her karmabhoomi. “It wasn’t planned! However, the beauty and richness of Indian art captivated me, my dance gurus nurtured me, and India gave me countless performance opportunities! I am grateful and happy!” she exults. Initially, she trained in modern dance and ballet alongside puppetry, mime and acting at the Detroit Institute of Arts, was a member of puppetry guilds/associations, performed regularly and earned a master’s in dance from Michigan University. She then visited India on a Fulbright scholarship (1973) to study Manipuri dance with Guru Singhajit Singh. Her scholarship was renewed to enable her to train in Mayurbhanj Chhau under Guru Krushna Chandra Naik; Odissi under the legendary Guru Kelucharan Mohapatra; and Manipuri Pala Cholam, Manipuri Maibi Jagoi, etc.

How did an American girl become interested in faraway India and its dance traditions? “Growing up in Detroit, I watched great art performances from around the world. We also had Indian family friends. During 17 years of ballet, modern dance, theatre and visual arts training, I could only take one Bharatnatyam class, but I immediately seized the opportunity when Manipuri classes were announced. This, coupled with academic studies in Humanities, Fine Arts and Asian Studies, motivated me to apply for a grant to visit India.” 

It is not unusual for artistes from other countries to learn Indian music and dance. However, how difficult did she find it to adapt to its cultural ethos? How did her training in Western arts impact her understanding of Odissi, Manipuri and Mayurbhanj Chhau? Was there any disconnect? Sharon replies: “Good questions. My previous training gave me the flexibility, strength, control and movement skills coupled with the ability to understand the dynamics and quickly internalise techniques needed for Chhau, Odissi and Manipuri. I did unlearn the strongly pointed feet and long neck of ballet. I had to learn to delve deeply into Indian texts and their context to interpret them.”

From the USA to India and its performing arts, there were many steps, literally and figuratively, that she took in her Indian dance journey; all enabled by her own focus and commitment and teachers who recognised this and groomed her. "Initially, I took an Odissi workshop purely for academic understanding. However, Guru Kelucharan Mohapatra said I was a fast learner and insisted I make a costume, record music and learn for the three major choreographies he’d taught me in a short time. It was motivating! I later also performed Mayurbhanj Chhau as a female soloist, breaking a barrier.”

Sharon has performed not only her gurus’ compositions but also her own choreographies in Indian languages: Sanskrit, Odia, Telugu, Bengali, Malayalam, Tamil, Hindi, Kashmiri, etc. “I managed by delving deep into the nuances and contexts of various texts with the help of scholars, great artists and teachers/translators. I start with the denotation and quickly move onto the text’s connotation, the poet’s intention, philosophy, historical and regional placement and the overarching understanding of metaphors. I attempt to internalise the nayika/other characters and understand the multi-faceted codification of Natyashastra.”

She has received well over 100 awards. “The respect and appreciation of rasikas and senior artists is my most precious award. Whether writing, dancing, teaching, or facilitating  the intersection of art and artists, I strive never to let anyone down.”