Chi Udaka, a kaleidoscope of sound and vision with taiko drums, shakuhachi flute, cello, classical Indian vocals and dance is inspired by the forces of nature, Chi (earth) and Udaka (water) merge in joyful celebration in this long running partnership/collaboration between two Australian companies TaikOz and Lingalayam Dance Company.

As Chi Udaka joins the 50th birthday celebration of Sydney Opera House in October 2023, we spoke to the Chi Udaka team in an exclusive interview with Indus Age.

Interviewed by Nidhi Kumari

Take us through the idea behind Chi Udaka. What is it that you want to convey through this kaleidoscope of sound and vision?

Chi is the Japanese word for earth, and Udaka the Sanskrit word for water, so these two elements form the core theme of the collaborative partnership between our two companies. Anandavalli’s choreography plays on the metaphor in Indian mythology that portrays the sensuous vibration of the ethereal movements of Apsaras – the celestial water nymphs – as the epitome of the perfect dancer. Whereas Taikoz’s taiko (drums) are associated with earth and the natural forces of nature, which is in turn reflected through the grounded and explosive energy of the drummers. The three melody instruments – the shakuhachi (Japanese end-blown bamboo flute), cello and voice – explore the internal world, setting each scene through quiet contemplation.

Taikoz comprises practitioners of the tradition of taiko drumming, and the Lingalayam Dance Company is led by internationally renowned dancer, choreographer and teacher of Indian dance forms, Anandavalli; tell us more about this unique collaboration?

Anandavalli tells the story best. She says, “The pivotal person in this story is Riley Lee. It was close to two decades ago that I first heard Riley play and my senses were mesmerised. I was very intrigued to discover that he actually collaborated and played with taiko players. Now, how does a musician who caresses you with his music translate those notes to resonate with the powerful rhythmical sounds that emanate from the taiko? Well, it was a perfect partnership, one that honoured and respected the traditional roots of their music, while still allowing their individual artistic practice to grow.

A seed must have been planted somewhere at the back of my mind that many years ago: as they say, dreams will take root and materialise when the time is right. And so, in 2011, I approached (Taikoz Artistic Director) Ian Cleworth with a proposal for Lingalayam and Taikoz to collaborate. I think what surprised Ian most about my proposal was that I had a very clear visual picture of the artistic vocabulary of this collaborative partnership.”

Taikoz and Lingalayam Dance Company has been a long running partnership; tell us what has kept these two partners intact for so many years?

Mutual respect! Not only do we love each other’s art-forms, but we gain sheer enjoyment out of playing and dancing together. It’s such a joy to come back together and revisit such a beautiful work.

This is a beautiful rendition between two different art forms. How does Chi Udaka intend to enthral the audience?

At its core, Chi Udaka celebrates life as experienced in the course of a single day – from the breath of a faint breeze in the cool of the morning, through the intensity of the noonday sun, to a final moment of exhalation and exultation at midnight. Eight scenes reflect the mood, character and feeling of different times of day and night. It’s all expressed through moments of gentle reflection, soaring melodies, rhythmically complex drumming and of course, spectacular dance. Chi Udaka is visually stunning – the sets, staging and costumes are an equal match for the dance and the drums!

An art form as this, with cracking rhythms of music, has a potential to give an adrenaline rush. What is your take on that? Do you improvise during the performance?

One of the most dazzling scenes is called Of The Fields and is set outdoors in the late afternoon. The stage floor transforms into a circle of dirt that is reminiscent of both a holy space and an arena – sacred and profane. Five taiko drummers and five dancers meet in the middle of the ‘dirt’ interacting with each other, moving in and out of each other’s spaces – sometimes playfully, sometimes competitively. It’s tremendously fun for the performers, and it always seems to translate across the footlights to the audience, who imagine themselves to be up on stage, too! And yes, there are sections of improvisation in this scene – we try and surprise each other every time we play it. It’s a spectacular scene in the show.

Chi Udaka is a part of the 50th birthday celebration of Sydney Opera House. Tell us about your thoughts on this?

It’s truly an honour to be invited to perform at the Opera House, and we intend to reflect that honour back to this amazing iconic building by putting on a dazzling show. And I’m sure the audience will feel equally special to be in the Drama Theatre with us! Bring on the next 50 years!

Is there any special preparation the Chi Udaka team has done for the Golden Jubilee celebration?

Just lots and lots of practice!

What is your message for the readers of Indus Age?

Despite its obvious derivation and respect towards South Indian Classical dance, Japanese Taiko and Shakuhachi, Chi Udaka is actually a very Australian show. It is very reflective of who we are as modern Australian artists – in fact, Chi Udaka could not have been created anywhere else!

Your final comments:

We toured Chi Udaka to India in 2016 where it was extremely well received by audiences and critics who were fascinated by the unique combination of music and dance. And now here we are – seven years on! – having the opportunity to present the show in our hometown and in such a building as the Sydney Opera House. What a buzz… come and share it with us!

For more information on Chi Udaka visit: https://www.sydneyoperahouse.com/birthday-festival/chi-udaka