Widely regarded as one of the most celebrated dance artists and educators, Bijayini Satpathy is a distinguished master of Odissi, a classical dance form from India.
With more than three decades of performance and teaching experience, being guided by Bijayini is a profound privilege for anyone dedicated to the art of Odissi. In December 2024, a group of lucky classical dancers, ranging in ages, from Western Australia were given that very opportunity.
Supported by the Department of Foreign Affairs and Trade, and brought together by Saraswati Mahavidhyalaya in partnership with ChitAmbara, the dancers travelled to India to take part in a residency with Bijayini. This immersive program, offered a daily routine led by the artist herself, allowing the dancers to fully immerse themselves in the practice.
In April 2025, the group reunited in Western Australia for a second residency. This time, Bijayini travelled here to continue the journey with them. It all culminated in an extraordinary showcase, where the dancers, full of passion and refined skill, performed everything they had learnt.
I left the showcase feeling inspired, knowing I’d only scratched the surface of what promises to be a remarkable project. To learn more, I spoke with ChitAmbara board member and lead creative Kamal Thurairajah about what went into the residencies and performance, and what the public can still look forward to.
What can you tell us about the origins of this project and the 2 residencies?
ChitAmbara’s current creative program, Echoes From A Forgotten Land, is a reflection upon the culture and artistic practices that come from the historical supercontinent Gondwana. The program is being created in collaboration with artists from India, Africa and Indigenous Australia respectively leading towards the creation of 3 new original works.
The Lakshya residency program seeks cultural exchange and connection between West Australia and India, across the Indian Ocean. Chitambara are working very closely with arts education organisation Saraswati Mahavidhyalaya in doing this, leaning on their knowledge, expertise and experience over the years in the teaching, learning and transmission of the Indian arts here in WA.
Our conversation with Bijayini Satpathy regarding this collaboration has been ongoing for a while (since 2019) incepting, planning and preparing for the 2 part residency program . We envisaged starting the collaboration by creating a space for deep learning while being open to creative possibilities. We are thankful to the Department of Foreign Affairs and Trade (under the Maitri Program) for Funding received in 2024 that has enabled the execution of this crucial first step, i.e. the 2 residencies.
The West Australian Dancers performing at the showcase. Photo supplied.
Bijayini Satpathy is a highly respected and celebrated dancer, choreographer and educator- how did it feel to get her onboard with this project and to work with her?
Thankful would probably be the best way to describe how we feel about this collaboration. Bijayini Satpathy is a master of her craft and all my conversations with her to date have been inspiring. Her anchoring in the classical traditions together with her curiosity and openness to explore in the current is special. It is exciting to see where this residency will take us now.
It is wonderful to see her work with dance artists from West Australia. The artistic interaction has been meaningful thus far and I am excited to see what this does for the landscape of our arts scene here in Australia. Thinking about this, I guess I am thankful and excited about the possibilities that this collaboration brings.
Can you describe the group of dancers you’ve brought together for this project? The dancers are of a range of ages, why is it important to bring together a diverse group?
The Indian arts has been alive and thriving in West Australia for almost 4 decades now. The dancers who participated in the residency are multi-generational, all of whom have had past training in Indian classical dance, and more specifically – the Odissi dance form. Over the years, these dancers have performed extensively within Australia and internationally.
Bringing the group together was not difficult as they were eager and excited about the project. We instead spent some effort in preparing collectively as a group and setting shared intentions for the program.
I am very happy that the participants came together nicely with Bijayini Satpathy across both residencies. The diversity in the group created a nurturing space where sincere non-hierarchical learning could occur. The group worked well together despite the diversity in skill and experience and I think this is because the intention to learn and to discover together was clear at the onset and throughout the process. I feel these kinds of learning spaces are crucial to develop and foster dialogue as well as deep learning to effect change and create more awareness of non- western concepts and practices.
Bijayini Satpathy and the West Australian Dancers at the first residency in India. Photo supplied.
What familiarity did the dancers have with Odissi before the residency?
All participants in the residency have been learning Odissi and other Indian classical art forms with the amazing teachers at Saraswati Mahavidhyalaya. The group have also been doing additional preparation classes together over the past year to maximise their preparedness for both residencies.
Despite some difference in their dance experience, the participants have all been exposed previously to the rigour of Indian Classical Dance training.
The first residency sounded rigorous, what outcomes did you see from it?
I was a little nervous going into the first residency as I was not certain how it would all come together. The country, the people, the travel logistics, the residency venue etc.
The India Residency was conducted at the Adishakti Laboratory which is a serene space in nature. I feel this suited our intention for the first residency very well. Upon arrival, the participants very quickly landed in a space of collective focus and silence. From here the group found a space of deep learning together. Bijayini led the group through a very rigorous routine that started at 7:30am daily.
Learning was a key intention for the first residency and I think the group came together nicely in terms of this. I am doubly happy that we also managed to create a documentary video that captures the experience of Residency 1 in India quite nicely.
Bijayini Satpathy and the West Australian Dancers. Photo supplied.
Can you describe the differences between the first and second residencies?
Honestly, I am still reflecting on the residency just gone by and some of my thoughts are still not clear. Despite adopting a similar daily schedule to residency 1, residency 2 landed more in a space of creativity with the idea of performance slowly coming in. The group built nicely from the seeds that were planted in Residency 1 as they worked towards the showcase at WAAPA.
I think the showcase also came together quite nicely. I feel the intangibly layered elements of the classroom learning space that we encountered in Residency 1 in India remained present in the showcase performance of Residency 2 in Australia, which is wonderful.
Now we’ve seen this phase, what’s next?
This work must continue to live. I hope that it finds its way through different spaces, places and stages across Australia, India and the world while retaining the simplicity, rigour and depth that we encountered in the learning and creative spaces of residency 1 and residency 2.
Looking ahead, we hope to conduct a further creative development that leads to the premier of a new work. Most importantly, I hope the journey of learning and exchange with Bijayini Satpathy continues.
I hope we find the right support from the local grant funding departments, arts agencies, venues, festivals and well wishers. This project has the opportunity to showcase something special from Australia to the world, and I hope we find the right International Partners for this.
While I am upbeat about the reach and impact this project can have, I am also slightly nervous about all that needs to come together for a project like this to happen. Fingers crossed!
To keep up to date with this project, follow ChitAmbara and Saraswati Mahavidhyalaya .