Remember the PATNAIK SISTERS who hit the headlines in 1999 for their collaboration with pop star Madonna in choreography in Odissi style? Shibani was one of the three Patnaik Sisters who has already emerged as a promising Odissi dancer.

Born and brought up in San Diego in the US , this daughter of an Oriya scientist has dedicated herself to promotion of Odissi dance and Oriya culture in America through the Centre for World Music and Allied Arts that the family has set up years ago.

The California Arts Council awarded `Next Generation Artist' grant to Shibani for developing new choreographies in Odissi. She received the Asian American Performing Arts Award from Stanford University . She was instrumental in setting up of the Dance Department at Stanford University.

The Orissa Society of Americas honoured her with the `Kalashree Award, while the first Devdasi National Award for Young Indian Classical Dancer was also conferred on her in Bhubaneswar .

She was also chosen to represent Odissi in Nritya Sangam – a collaboration of four Indian classical dance styles performed throughout North America . The list of success of this young and promising Oriya artiste goes on and on.

In an interview with SHYAMHARI CHAKRA during her recent trip to India , the Oriya lass spoke of her ‘affair' with Odissi dance.

Q: How was the beginning?
A: I began learning Odissi quite early in my childhood from Guru Gangadhar Pradhan's Orissa Dance Academy in Bhubaneswar . Once noted dancer Nandita Behera moved from Bhubaneswar to Los Angeles , my parents took my sisters and me to learn from her. But we had to spend about four hours on the road since her home in Los Angeles was quite far from San Diego where we live. So my parents decided to bring dance teachers from the Orissa Dance Academy and have them live with our family for months together to teach us.

Q: Did you really enjoy learning dance in the beginning? Or was it very difficult and boring unlike the other hobbies that children pursue?
A: Initially, dance was difficult for me. My mother had to make me practice daily and I didn't enjoy it at all. However, I started enjoying it when I was about sixteen. I was able to realize and understand what a beautiful art form Odissi is. At that point, I promised myself to concentrate and worked hard.

Q: When did you take serious interest in dance?
A: When I could see my hard work pay off, I became more inclined to become a better Odissi dancer. It became an addiction. I am simply in love with Odissi now. Odissi is my life, my love and my passion.

Q: Why did you decide to have a career in classical dance that has hardly any opportunity?
A: Being an Oriya and in love with Odissi, I thought it my sacred duty to do something for promotion of Odissi dance and Oriya culture in the US and the world at large. I love Odissi so much that not pursuing it with passion was never an option for me.

Q: Did dance affect your concentration in study?
A: Never. I studied Computer Science at one of the top Universities in America ( Stanford University ). So my studies were quite difficult and demanding. I managed to keep up my dance by practicing four times a week for two hours (although I still wanted to do more). Practicing, performing and teaching dance helped me focus on the important things in my life like studies. It helped me learn patience, discipline and provided me the energy, both physical and mental, and spirituality.

Q: Is it difficult to train oneself as an Indian classical dancer in the West? If so, what are the difficulties and challenges?
A: I wouldn't say it is difficult to train to be an Indian classical dancer in the West. However, it does require significant effort on the dancer's part and his/her family. I was blessed to have the support of my parents. They were able to bring dance teachers from Bhubaneswar to live in our home and teach my sisters and I dance. That was required at that time since there were no Odissi teachers in the area then.

For those dancers from America who are not tuned to the Oriya or even Indian culture, there are cultural and linguistic barriers. Being a part of the culture and knowing the language are really essential for any practitioner of Indian classical dance. Knowledge of classical music, Sanskrit, myths and epics – all these are quite important. And for an aspiring Odissi dancer, one has to experience the Jagannath culture, to be familiar with Orissa's history. You need to be familiar with the legends and myths of Orissa. You have to know the sounds, sights and smells of Orissa. The list can go on….

Most importantly, you need to be completely immersed in Oriya culture. It should never look like a second generation American dancing Odissi – the authenticity should never be questioned. I am born and brought up in the West but I can claim that I am an Oriya girl performing Odissi.

Q: How important is the knowledge of Oriya for learning Odissi?
A: Extremely important. How can you perform an ‘abhinaya' without completely understanding what you are portraying? Explanations through translations don't count as so much is lost in the process.

Q: Is it possible to have classical dance as a career or profession in today's scenario?
A: Why not! Anything is possible. But one has to try and try. And not give up soon.

Q: Do you think family background, ‘connections' with influential people and media publicity help in establishing oneself as a reputed dancer?
A: I think, in the end when you are performing on stage, a true audience member doesn't care who your parents are, who your spouse is or whether you are a celebrity or not. The only thing that can make you a lasting and reputed dancer is your dance of substance and commitment to dance. True, it may be easier to get you to that platform if you have connections, but in the end, it is up to you to maintain that position which is the difficult part.

Q: Your future plans.
A: I would like to open up my own dance institute committed to teaching of high quality Odissi dance (the high quality aspect is very important to me). I am very interested in choreography and production as well, which I will take up once my institute is established. Meanwhile, I will work on small choreographies so I have time and room to grow as a choreographer.