Credit: Augustine Paredes
In the vibrant tapestry of Shereen Saif’s artistic journey, each thread tells a story of dance, theatre, storytelling, and art. Born into a progressive Muslim household in the UAE, Shereen’s artistic voyage began with her mother’s vision of classical dance as a tool for personal grooming and cultural awareness. Bharatanatyam marked her initial steps, but her path took unexpected turns during college, leading her into the realms of Western and Bollywood dance.
“I was 10 years old, and dance was not love at first step for me. It was a slow and painful journey. During my college years in India, [where] I studied architecture, I moved away from Indian classical performing arts and did everything Western and Bollywood. But during my third year, I took up the study of temple theatres as part of my dissertation topic. This led to close encounters with traditional Kerala performing arts particularly the theatre forms of Koodiyattam and Kathakali. It reignited my interest in Indian classical performing arts,” Shereen said.
This encounter left such an indelible expression that when she returned to Dubai, it prompted her to resume Bharatanatyam training. Destiny intervened once more when Kalamandalam Sujatha, on a teaching assignment in Dubai, became Shereen’s guru, guiding her through the intricate nuances of Mohiniyattam.
“I spent three years learning under her and went on to develop into a full-fledged solo entitled ‘Lasya’ in Chennai in 2010. In 2011, I started training under Dr Neena Prasad, one of the finest Mohiniyattam artists, researchers and choreographers. The world of Mohiniyattam is rich in subtleties and nuances. One can only discover it over time,” Shereen explained.
Credit: Fareed Majari
The dance form has since become a profound part of Shereen’s life, and after 13 years since Lasya, she is now preparing for a solo show in Bangalore in August 2024.
Despite being a passionate dancer, Shereen began to feel limited as an artist. This caused her to explore different avenues to express herself, which eventually led to the theatre in 2011.
“Over the years, I trained, and continue to train, in both Western and Indian theatre methods from Stanislavski to Navarasa Saadhana. My theatre sensibilities have been shaped by incredible artists, including Dubai-based theatre directors Liz Hadaway and Sol Abiad, Koodiyattam exponent Venu G., Actor and ex-Administrator General of Comédie-Française Marcel Bozonnet, as well as Vinay Kumar and Nimmy Raphael, Artistic Directors of Adishakti and Film, and drama director Suveeran,” the multi-faceted artist said.
From there, her foray into installation art sprang from her association with Star Too, the UAE’s first experimental theatre project, of which she is a proud founding member. In 2014, she experimented with creating an immersive video art installation, ‘The Unmanifested,’ at Dubai Culture’s SIKKA Art Fair. This marked the beginning of a conceptual art practice that fuses movement, music, text, photography, video art, and technology.
“In 2017, a chance encounter with Italian master storyteller Paola Balbi led to the start of my adventure in storytelling. Today, I see myself as a multi-disciplinary artist with a practice that spans theatre, storytelling, voice acting, conceptual art and dance. It has been a very organic journey of seeking, learning and creating,” Shereen noted.
Reflecting on her diverse career, Shereen takes pride in her solo storytelling show, ‘A Woman’s Mind,’ based on the story of Ahalya from the Ramayana. Premiered in Dubai in 2022, the show defied expectations with its adult content rooted in Hindu mythology.
“I first told a 10-minute version of this at a storytelling festival in Rome in 2018. Since then, I have wanted to develop it into a full-length show, but I wondered how it would be received in a place like the UAE, given its adult content steeped in Hindu mythology. Despite the odds, in 2021, I won a Production Grant from the Abu Dhabi Cultural Foundation and premiered the show in 2022 in Dubai in partnership with Alserkal Avenue, The Junction and Hiba Art Project. [On] 17 November [2023], I [was] invited to show the work in Rome, where it all started. Now I’m preparing to tour in India in December, supported by a grant from Wales Arts International,” Shereen said with a broad smile.
She added: “Experiences like this have taught me the importance of being persistent and putting in the hard work to make things happen. Talent and creativity are only a small part of what makes you an artist. A big part of it is practice and perspiration.”
Another instance where Shereen ventured into uncharted creative territory was during a recent creative exploration in ‘Rewilding the Kitchen,’ an eight-week culinary residency at the Alserkal Arts Foundation. The experience delved into the intersections between art, writing, and food, leading to unexpected outcomes rooted in her interest in urban foraging.
“From April to May, I was part of Rewilding the Kitchen, led by guest resident Nahla Tabbaa. Over the course of the weeks, we explored the intersections between art, writing and food. For Open Kitchen, the public programme at the end of the residency, the work I showcased developed out of my interest in urban foraging. This was a totally unexpected outcome. When I started in April, I went in with an open mind, keen to see what would emerge. I was enriched far more than I could imagine,” Shereen reflected.
She also opened up on how the workshop challenged her as a writer: “Most of the writing I do, tends to be about performing arts or design. So, I wanted to open myself to a different experience as a writer. The prompts, led by arts writer Kevin Jones, were deeply engaging and it was such an inspiration to listen to the writings of the other artists in my cohort.”
When asked by Creativity Undefined whether a singular work in her rich portfolio holds a special place in her heart, Shereen didn’t hesitate: “There are several but I’ll pick ‘Silent Conversations’, a photo-AR-installation work I showed at the Sikka Art Fair in 2019. It was a study of the Deaf culture and language. It is my strong belief that the only thing that separates the Deaf from the Hearing is Language. I used augmented reality (AR) and worked with the deaf community in the UAE to create a series of short performances in sign language to convey these ideas.”
Juggling multiple artistic roles can be demanding, and Shereen shared some insights into her approach. According to her, everything boils down to effective time management, fixing priorities, and the ability to discern between opportunities that contribute to long-term growth and those that don’t. Striking this balance is crucial for an artist navigating a diverse range of creative endeavours.
While there are multiple technologies and digital tools that could help her streamline some of her work, Shereen doesn’t force digital tools into her creative process. Despite using technology, she remains grounded in traditional methods, often relying on a notebook for writing, drawing, and ideation.
“I don’t force fit digital tools into my creative process. As much as I use technology, I am someone who uses the notebook to write, draw and scribble ideas…I roll up my sleeves, get on the floor and try things out. If a work demands technology, it will be seamlessly sown into it,” she revealed.
Credit: Still Dancing, shot by digitally
Shereen’s approach to remaining inventive is refreshingly simple – she doesn’t consciously aim for innovation; she follows her excitement and challenges herself. Her diverse influences include nature, design, literature, tradition, and global events, all of which find a way into her work, shaping her hybrid artistic identity.
“I don’t consciously think about being innovative in my practice. I only pursue ideas and projects that excite me. If something excites me, I always say Yes to it and then figure out a way to do it. I like to shake things up and challenge myself. I also experiment and draw from my various disciplines when I create work. I am loyal to this approach and intention,” she explained.
Shereen also recognised that among other things, the world’s increasing environmental and social issues influence her work. She expressed concerns about her carbon footprint, while highlighting her efforts to embrace sustainability in her personal life and her work.
“I’m concerned about my carbon footprint and sustainable living. I keep things pretty simple and frill free. I’m [also] careful about what I buy and what I make. My art is not about creating material things. It is ephemeral. A performance, an experience. My concerns don’t just manifest in my art, it manifests in the way I am and the way I live,” she said.
Credit: Macbeth, shot by Nitin Syam
As an expatriate artist raised in the UAE, she cherishes the unique opportunity to straddle both worlds, blending her Indian heritage with the cultural tapestry of the UAE. Her artistic language is the result of various influences, including her training, practice, self-exploration, and the influence of role models.
“I think it is such a blessing to be a third culture child with exposure to so many experiences. As someone who has grown up in the UAE, this place, like India, is also home and I love the fact that I can straddle both worlds. As an expatriate [here], it is possible to hold on to our cultural identities. When I was growing up here, people only mingled within their communities. Things only changed for me in the last 15 years or so,” the creative luminary shared.
She likewise observed that the country’s art scene had bloomed quite a bit in the last quarter century to become a place where artists of all types and backgrounds can make their mark, especially since the arts and culture scene here is not as crowded as it is in some other parts of the world.
“My artistic language is the result of several influences – primarily my training, practice, self-exploration and the influence of role models. Cultural elements from the UAE have not directly or in obvious means found its way into my work but I am sensitive to it,” she said, before elaborating further: “A research project I am currently engaged in with at Warehouse 421 for instance, involves the study of the Mina Zayed area, in particular the flora. This really builds a deeper connection with land and nature.”
Credit: Shereen Saif
Speaking of connections, Shereen emphasised the need to stay mindful of the evolving ways people consume content. This awareness is crucial for her, whether she is on or off .
“We have become a screen culture. There’s not enough real face time or human-to-human interaction. Plus, people’s attention span has vastly decreased. I am conscious about this when I create work and really try and push the boundaries. When someone tells me an 80-minute solo is difficult to sit through, my job is to make it so compelling that you stop thinking about time,” she said, before delving deeper into an exploration of modern society: “People don’t look each other in the eye, so when I tell stories, I am keen about connecting eye to eye, mouth to ear and heart to heart. Even when I use technology or screens in my work, it is always about trying to make a human connection.”
Collaborations, another facet of connections that bring fresh perspectives, are an integral part of her process. She has an existing body of work created through multifarious collaborations and for the future envisions creative partnerships with filmmakers, theatre professionals and musicians to give wings to some ideas that are sitting in the backburner.
She believes that impactful art can provoke thought and reaction, citing the revival of ‘Still Dancing’, a play based on the true-life story of a Parkinson’s hero. This project aimed to create awareness and sensitise people to Parkinson’s disease, showcasing the transformative power of art in addressing societal concerns.
“Earlier this year, we revived Still Dancing, a play based on the true-life story of a Parkinson’s hero. It was a play to create awareness and sensitise people to Parkinson’s disease. When people come up to you and say: ‘Now I understand what it is like…or…I wish I had known this earlier’, then you know that some shifts have happened,” Shereen recounted.
She added: “Good art will always provoke thought and reaction. Some of the greatest influences in our lives have been shaped by art, [whether it’s] a book we read, a movie we saw, a song we heard…art has the potential to drive change, [both] positive and negative.”
Credit: From the Archives of Star Too
When asked what her advice is for anyone starting out on their own creative path she said,: “If you are an artist, don’t be afraid to own it. And don’t be scared to pursue a career in the arts. People will tell you it is difficult. They are right, it is difficult. But you have to be smart about it. Work on your craft, diversify, learn to wear multiple hats – as an artist, as a project manager, get tech savvy, be flexible, equip yourself to what it takes to thrive. Be persistent.”
It’s the same philosophy that Shereen follows for her own constant evolution: “You have to invest in constant learning and practice. That’s the only way you will evolve as an artist. You have to be fearless and pursue your creative itch. No matter how ambitious or impossible it may seem at the outset.”
When asked about any upcoming project, the versatile artist remarked that she’s currently touring her storytelling project ‘A Woman’s Mind,’ developing a solo Mohiniyattam show and working on a book about the Navarasa Sadhana, an actors’ training methodology developed by her teacher and renowned Koodiyattam exponent G. Venu. With upcoming storytelling projects in collaboration with Alserkal Avenue and the Ishara Foundation, she envisions her growth as an artist through constant learning and practice. Beyond that, Shereen envisions exploring film as a medium—a natural extension of her current artistic engagements.
Credit: Shereen Saif
For now, she’s content to continue exploring any creative opportunity that comes her way, embodying her favourite motto ‘Carpe Diem, Seize the day’.
“It sets me up to opening my mind to the possibilities that every day brings. It reminds me to be flexible and work with given circumstances. Things will never be perfect. You just have to get going,” she said, laughing.
As Shereen’s creative odyssey continues to unfold, it mirrors the intricate dance of her diverse influences and passions. From the classical cadence of Bharatanatyam to the experimental choreography of installation art, each step resonates with a commitment to exploration and evolution. As we anticipate the upcoming chapters in her narrative—a tale woven with threads of storytelling, theatre, and perhaps the flickering frames of film—we are reminded that her art is a living, breathing reflection of an artist unbound by conventions. In a world where every canvas is a stage, and every stage a canvas, Shereen Saif’s journey invites us to dance to the rhythm of our own creative possibilities.
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