Anita's many years in the United States first as a college student and later as a media professional in New York city gave her a
larger perspective about the arts and the role of the performer in society. Ideas about movement, group choreography, dancer
training, the intellectual life of the dancer were all topics that she felt very deeply about and boldly explored in her maiden
collaboration, POEMS FOR THE EYE.
Her feelings on that first journey to be "a complete dancer":
"My return to India in 1990 was meant to help me create a national voice for myself as an artiste and to fuse my western
experience with the inborn Indian aesthetic. At first, it seemed like an impossible task.
I decided that collaboration in my art was the key to my survival as a dance artiste. In affiliating with artistes who were concerned
with excellence and not attitude, in aligning with talent and not temperament, I was throwing myself an artistic lifeline and a
chance to bridge this chasm of empty rhetoric and bombast that Indian dance had seemed to come to represent.
My first steps towards this journey of artistic partnerships in 1993 was with a homage to the writer-poet AK Ramanujan who had
died tragically in the US. Adapting his stunning translations of ancient Tamil love poetry to dance and theatre set me off on an
ongoing relationship with language and movement.
Performed by the seaside on a moonlit night, washed clean by a passing rain shower, POEMS FOR THE EYE explored spoken verse
in English, stylised and natural movements in Bharatanatyam and the use of simple props like brass pots, bamboo sticks and
free-flowing sari fabric. Choosing to move in the Bharatanatyam-mode to the soundscape of English verse was a conscious choice
to maintain the integrity of Ramanujan's words which could then be seen as flowing parallel to the choreography. Inviting
Chicago-based dancer Krithika Rajagopalan and New York-based actress Rajika Puri into the work enhanced the dramatic tension
By juxtaposing naturalistic movements like walking, sitting, laughing and teasing one another, the experience was both dance and
theatre simultaneously. The age differences between the three of us, normally concealed in classical Bharatanatyam, was made
apparent to allow the audience to map out the relationship between the three performers... "mother, daughter and
foster-mother?? "Mother and two daughters?" The triangle was provocative and open-ended.
The success of POEMS FOR THE EYE gave me the fillip to continue on my journey of collaboration…"