Luca Curci talks with Tejaswini Loundo during BODYSPACES, the first appointment of CANVAS INTERNATIONAL ART FAIR 2024 at Palazzo Albrizzi Capello.

Tejaswini Loundo is a movement art practitioner originally from Goa, India, currently based in Milan, Italy. With a keen interest in interdisciplinary approaches and intercultural dialogues, her artistic work delves into the intersection of Indian and Western contemporary themes and movement arts. Alongside her dance practice, she is a dedicated creative dance teacher and an aspiring writer. From the age of seven, Tejaswini has trained in Kathak, an Indian classical dance, at Kala Academy, Goa. She successfully completed her certification and the Gandharva Mahavidyalaya National Examination (Visharad) under the tutorship of esteemed Guru Varada Phadke Bedekar and Guru Pt. Shama Bhate. Additionally, she holds two professional diplomas: one in Indian Movement Arts from the Attakkalari Centre for Movement Arts in Bangalore, India, and another in Western Contemporary Dance from DanceHaus Accademia Susanna Beltrami in Milan, Italy. Tejaswini is also a graduate with a Bachelor of Arts in English Literature from St. Xavier’s College, Goa, India.

Currently, she works as a freelance dancer and educator, collaborating on various projects with fellow artists. She teaches dance, creative dance, and theatre to young children and is a member of the Eurasia Dance Company, directed by Stefano Fardelli. As an aspiring writer, she seeks to explore the narratives that intersect with her artistic journey. Tejaswini firmly believes that art creates a unique space for the artist and audience to connect and share transformative experiences.

Luca Curci – Where did the need to show reality through performance art come from? 
Tejaswini Loundo – Well, that’s an interesting question! There is a concept, an approach, that I profoundly resonate with and strive to achieve in my work, which is based on the rasa theory. This theory is fundamental in the Natyashastra tradition of the Indian classical arts and aesthetic studies. Rasa is defined as the essence, or the true complete experience of art, evoked in the audience through the artist’s honest embodiment. It is considered the ultimate goal of all arts. When I think about it, I think about how art helps us feel something, to an artist in one way, and the audience in another. This space, within and about reality itself, is where the artist and the audience can connect. The rawness of our shared reality is what unifies us all, our shared interconnectedness. This is what interests me, and this is where my need resides. The audience’s eyes when they look at art, how it makes them feel, and the residue this interaction creates- this, for me is our collective introspection on things that touch us all. As such, art, in any form, is a powerful, timeless mirror of reality. And as an artist, this is my need. Furthermore, the past five years, since I made the move from India to Italy, have deepened my appreciation for my traditional roots while exploring them artistically. It is like living between two world with diverse, and sometimes not so diverse, perspectives. Both, as an insider and an outsider, allow me to delve into themes like identity, authenticity, and societal conditioning in a way that goes beyond cultural contexts to simply create a space where one maybe understood at a human level. This journey is exciting, and I’m grateful for the opportunities that continue to push me to grow and discover new paths in my art.

LC – Is there an unrealised or unrealisable project, even a crazy one, that you would like to work on?
TL – Well, I do have an unrealized project that might seem ambitious. I envision creating an artistic space – an artistic center that serves as a hub for transient creative dialogue. What do I mean by ‘transient’? Well, I’ve always been fascinated by airports, specially international airports and draw inspiration from them. These spaces are especially designed for the movement of diverse people and cultures, creating a unique, no-single-identity zone where time feels relative. I imagine this center fostering artistic dialogues exploring various cross-disciplinary expressions in a fluid, accumulative, and intuitive way. I am not sure practically how it would work, but I’d like the nature of this center to be transient- a space open to anyone at any time, where participants can leave their footprints, however brief, and move on. Let’s leave the rest to take shape in concrete – some day!

 LC – What are the three hashtags essential to define your poetics that you could not give up? 
TL – 1. #Curiosity, because it drives my exploration and willingness to question, discover and create. 
2. #CulturalDialogue, because my creative research explores intercultural and cross-disciplinary dialogues, celebrating and blending diverse perspectives. 
3. #MovingNarratives, because I like to think of movement/dance as a way of storytelling. I believe we are all storytellers made of stories. 

LC – How is your creative process?
TL – Well, I don’t really have a formula here, I’d say my creative process is quite intuitive. I think two things matter most to me: the narrative I want to convey and the impact I wish to leave on the audience. I see myself as a storyteller, and through what I share I hope to leave the audience with something to ponder—whether it’s a thought, an emotion, a discussion, an impression, or even possibly a sense of apathy that prompts them to question (because that does happen too!). While not every little movement needs to make clear sense, for me there should be a cohesive thread that connects them. Many of my works tend to have some literary inspiration. So to list it quite literally, my creative process could include a range of activities: theoretical research, writing, movement exploration, creation, reassessment, and being open to improvisation. I believe there’s no truer inspiration than our personal experiences, especially when they can relate to broader societal issues. Sometimes I like to create hypothetical situations to explore these themes. Although I enjoy working solo and probably also need it from time to time, I find collaborative work to be the most enriching. I believe that a sense of community is the oxygen of the art world—a space where artists connect, support, promote and grow together. On a side note, recently, I’ve also realized that writing has become an essential part of my artistic growth as well. It helps me put words to my thoughts and deepen my understanding of my work and research. So yes, broadly I’d say my creative process is quite subjective to what the projects needs and other factors. 

LC – Do you agree with our vision of art and what do you think about the theme of the exhibition?
TL – Let me address the second part to your question first: “BODYSPACES.” The concept of the body as a space – taking up space, being space, and including mental, spiritual, and cultural dimensions – offers a vast scope for exploration. It’s incredibly exciting for any artist when a theme challenges us to interpret it in multiple ways. After all, as many people exist, so do that many worlds. The theme of Bodyspaces is not only profound, but also highly relevant. It makes me wonder, how one defines the concept of ‘body space’ especially in our ever-evolving technological and virtual landscape. I think it’s wonderful when artists to delve into topics that reflect not just our physical selves, something so universal, but also ideas that are timely and necessary for discussion. So to answer the first part now, yes. I do resonate with your vision of art because it prompts and promotes an artistic inquiry into matters that are universal and relevant. My work focuses on exploring our shared spaces and the narratives that connect me as a performer to the audience on a fundamental human level. In this context, the scope of ‘Bodyspaces’ aligns perfectly with my need to communicate through art, leading to the creation of Sva / स्व, the performance I presented at the exhibition. 

LC – In which way is the artwork presented in our exhibition connected with the exhibition’s theme?
TL – Firstly, I’d like to share that most of my works reflect my ongoing research at the intersection of Indian classical and contemporary themes and movement. So, let me briefly explain the thought process behind the piece Sva / स्वwhich I presented at the exhibition. In traditional Kathak performances, we often include the shringar, a segment focused on the process of getting ready and associated with the idea of beauty. This concept is typically viewed as a romantic and aesthetic experience in Indian classical arts. My aim was to recontextualize this concept by placing it in a less romanticized and more quotidian context. The performance Sva / स्व, meaning ‘self’ in Sanskrit, explores the idea that our bodies are not just vessels but also narratives shaped by societal influences. It examines how adornment impacts our sense of identity in a world where we constantly navigate our physical and virtual selves. The piece is a journey of adding and peeling away layers, revealing the dichotomy between who we truly are and who we present to be to the world. In this light, Sva / स्वexplores one of the facets of how the theme of Bodyspaces can be interpreted. It highlights how our shared spaces influence our body-spaces and shape our sense of self and identity in our contemporary times. 

LC – What do you think about the ITSLIQUID Platform?
TL – I believe that the ITSLIQUID Platform is a dynamic space that stands out for its multidisciplinary and intercultural nature. What I appreciate most is its respect for the value of art above all else. I think of it like a fertile ground for both established and emerging artists, providing them with the credibility and validation that is immensely encouraging. The exhibition itself is a singular space that hosts a wide range of artistic expressions – such as painting, installation, sculpture, video art, 3D painting, and performance art. This is wonderful because it fosters an environment where diverse voices can coexist. It consequently promotes cross-disciplinary perspectives, which are essential for the evolution of contemporary art. 

LC – What do you think about the organization of our event?
TL – As I mentioned earlier, the exhibition featured a wide range of artistic expressions. I found it particularly interesting that the audience could move seamlessly through different mediums – from paintings to sculptures, video art, wall installations, and photography – all contributing different perspectives on the same subject matter: “Bodyspaces”. Furthermore, performing Sva / स्वamong these artworks was a unique experience. I felt like one of them, yet transient and ephemeral. Speaking of energy of the exhibition, it was just right. Right from the start, the organizing team was warm and welcoming. I enjoyed connecting with various other artists and audience members. The installation of the artworks beautifully contrasted with the lively chatter of the crowd. Every aspect was a commitment to showcasing meaningful art and fostering exchange and dialogue. I was very glad to have had the opportunity to share my work and connect with so many people.