Ganga’s glories through Toril’s talent

An ambitious cross cultural opera has the power to make a strong and impactful message

BY USHA ARVIND

Creative expression, in its myriad avatars is not merely Toril Pursell’s profession, it is her passion too. Over the years Toril has been actively involved in art education and advocacy, developing and facilitating programs for children and adolescents, particularly at-risk youth.

The art therapist, dancer and theatre personality believes that, in slightly improvised words of the immortal Bard, “all the world’s a stage and all men and women, players - each having their grand entrance and exit She herself made a memorable debut onto the Indian Australian scene with the ambitious cross cultural stage production Ha Murray Ganga, a tale of two mighty rivers that shaped the destiny of its inhabitants.

Toril who played the pivotal role of Ganga, volunteered for the project after learning about it through workmates at Rozelle Hospital.

(Toril’s) intention was to provoke questions about mental illness and well-being, and reframe the cafeteria with a dance that did not fall into institutionalized gestures

“Initially I had some reservations about taking on such a complex role. For Hindus, the Ganga is one of the most revered of personalities, full of complex symbolism,” she told Indian Link “But when the coordinators explained that the opera was about the River Murray as well and that the Koomurri Dance Troupe, led by choreographer Russel Dawson, would be an integral part of this, I was ready for the challenge.”

On a larger scale, Ha Murray Ganga was about Australia, indigenous traditions and more importantly, care for the environment, concepts close to her heart, explains the talented performer, who loves experimenting with roles, particularly those that have an unusual dimension.

Toril did extensive research on Hindu ideals and mythology in preparation for her role. She is particularly grateful to Ajanta Bhattacharya, Indira Mukherjee and Annapurna Lodh, who directed her, and script writer Shantha Gounder who demystified the character and explained the nuances of each scene.

As the choreographer, Ajanta had a very open and collaborative way of working, says Toril who found her own structured ballet training background both an asset and a disadvantage to her portrayal of Ganga. “On one hand I was able to pick up sequences and follow her instructions. On the other hand, I had to learn new ways of moving, holding my body and gesturing with my hands. In ballet there isn’t usually the animated or theatrical gesturing you might see in contemporary Indian or Bollywood dance,” she explains. “To start with I felt that I was ‘over-acting’ but by shadowing

Ajanta and observing other dancers, I began to understand how to do this in a way that was genuine. Ajanta was very patient and we were able to laugh together and find the balance between the contrasting styles of dance - Indian, modern and ballet.”

Toril found it easy to relate to Ajanta’s frequent use of metaphor in describing particular movements that were intended to emulate the river. “I tend to be a visual learner and this was poetic and effective on Ajanta’s part,” she says.

While Toril may be new to the Indian-Australian scene (she only moved down under in 2007 to take up a Masters in Art Therapy at UWS), her Indian links go back to her early childhood spent happily in New Delhi.

“My experiences date back to the late eighties,” she reminisces. “Trips to Khan market, attending a Hindi school and then American Embassy School; travelling to Goa, Tamil Nadu, Orissa, Kerala; trekking in the mountains near Manali, visiting temples and crossing parts of the desert on camel-back. I’ve been surrounded by Indian art throughout my life and I love the diversity of Indian music and food,” she adds. Likewise, her tryst with the performing arts is also rooted in India, where she first learnt kathak. Her earliest memories are of “putting on ‘shows’ in our living room, of twirling under water and re-enacting dances without the limitations of gravity.”

She began training in kathak at the age of 6 and when the family moved to the US, enrolled in ballet classes.

Dance of some form has always been a vital element of her learning curve. Along the way, Toril also had exposure to a range of music, theatre and alternative productions.

While her school performances went a long way in character and confidence building, her strict training in ballet taught her focus and self-discipline. “The classes were a social point but also taught me how to remain composed in front of an audience. I recall entering an audition at the Kennedy Centre in Washington DC and playing a minor part in a ballet of Shakespeare’s Midsummer’s Night Dream. It was a thrill to see how things run backstage, which is often a contrast to what the audience sees,” she recollects.

“I struggled with certain aspects of ballet,” she admits, “particularly the emphasis on body type and the physical impact of being on point shoes.”

Injury forced Toril to take a break from ballet. But dance continued to be her primary muse, finding new creative outlets in modern dance, particularly the Latin genre. “I found this granted me much more freedom and formally introduced me to the notion of dance improvisation,” she says. Her travels to exotic locations in South America, particularly the Honduras and Argentina, also opened new pathways in selfexpression.

While at University, Toril who has a degree in Art and Anthropology, experimented with Ghanian drumming and dance under master drummer Obo Addy and participated in numerous contemporary hip-hop productions.

“The reasons for my involvement in the performing arts has changed over time,” she explains, “but fundamentally it seemed natural and ‘made sense’ for me to dance. I love music and the way different types of melodies and rhythms invited the body to move in particular ways.” It was only natural that she decided to take up a career in Art Therapy, interning and eventually contracting for STARTTS (NSW Service for the Treatment and Rehabilitation of Torture and Trauma Survivors). Working across a gamut of health-related fields, art therapy is an interdisciplinary form of psychotherapy and incorporates a range of visual art forms. Aimed at an increased awareness of the self, it is a dynamic and creative process where the journey is as valuable as the outcome.

Toril, who is a member of ANZATA spoke at the maiden ‘Internationalisation of Creative Arts in Therapy’ conference at Lasalle College of the Arts in Singapore.

Since arriving in Sydney in 2007, her career took precedent, though she did continue to dabble in yoga and the odd dance class.

But late last year, opportunity came knocking once more when One+2 Studios coordinated Art Outside, a candlelight performance at the psychiatric ward in Rozelle Hospital. Toril and her creative group ARTcircle chipped in. “On the night of the opening I read a poem and danced based on improvised movements. My intention was to provoke questions about mental illness and well-being, and reframe the cafeteria with a dance that did not fall into institutionalized gestures,” she explains.

She believes that art therapy has huge potential within the predominant medical model, but is saddened by the way recent violence towards minority groups is being handled. “Ha Murray Ganga in this respect was a gesture towards reconciliation and celebration of cultures that can co-exist. Beyond all of this, I believe there is a generosity of spirit in Indian community that came through in the performance and in all those who contributed to it. Ideally I would travel through parts of India and incorporate art therapy related research soon,” she says.

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