As London hosts ‘Voices of Rebellion and Harmony’, an evocative evening of music and words at SOAS, one of the artists at its heart is already making waves across disciplines and geographies.
Sujoy Prasad Chatterjee, Kolkata-based interdisciplinary performer, storyteller, and cultural provocateur, arrives in the UK with a rich body of work that blurs the lines between theatre, spoken word, curation, and activism. Whether it’s breaking out of the proscenium or revisiting Rabindranath Tagore’s legacy through contemporary lenses, Chatterjee's voice remains consistently bold, fluid, and fearless.
In an interview with Asian Voice, Chatterjee speaks about dismantling artistic and social boundaries and reflects on his creative journey, diasporic dialogues, the politics of performance, and the enduring power of intersectionality in his art.
Your work spans various disciplines of performance art, theatre, spoken word, and curation. How do you navigate different forms, and what drives your interdisciplinary approach?
The first box that I broke out from is the proscenium. Way back in 2002-03, there was absolutely no concept of alternative performance spaces in Kolkata. I started performing in book stores, art galleries, cinematheques, nightclubs, garages etc. I think when I was doing all of this I started exploring the possibilities of interdisciplinary navigation. Arts is not watertight. It is as fluid as gender. Disciplines are disciplines and I respect their sanctity.
Can you share the genesis of your recent solo performance, "Voices of Rebellion and Harmony"? What themes are you exploring through this piece?
This event is not a solo programme at all but a plethora of artists are coming together to create a voice--A voice that talks about displacement, diasporic identity, dilemmas of migration, social stereotypes and so many others. I am a storyteller in this one who unlayers future of the past through readings while the art on display somewhat echoes the context. Supported by Bengal Heritage Foundation the show opens on June 12th at 6pm at SOAS.
How do you view the role of the South Asian diaspora in sustaining and evolving creative traditions globally? Do you think the diaspora has a responsibility to preserve "authenticity," or is it more about creating something new out of hybrid identities?
The South Asian diaspora is a dynamic entity today. If you are looking at homogeneous ties that may not be the rule but exception. Globally, South Asian voices are constantly expressing their authenticity and depth in not just artistic but political representations too. My directorial debut short HOME, inspired by a poem written by Arundhathi Subramaniam is being screened on June 23rd at House of Commons, British Parliament. This silent non-linear narrative talks about the mind space of hybrid identities and the gender politics.
How do you think is Bengali cinema positioned today on the world stage? Do you see a shift in how Bengali films are being received internationally, especially among non-Bengali audiences?
As a regional player, the film industry in Bengal is presently beset with a whole lot of challenges. The most important challenge is that of the intrusion of the state government and the aftermath of political degeneration. Artists should have political voices or ethos but can't let that eat into their arts. That's what has plagued the industry. The silver lining is the upsurge of young filmmakers like Aritra Sen, Abhinandan Banerjee, Aditya Vikram Sengupta and a few others who are redefining content and also realigning Bengali cinema globally. When it comes to non-Bengali but Indian audiences, the lens is a bit different. This segment loves masala more than avant-garde. Also OTT has completely repositioned Bangla content .
You've been an important voice when it comes to identity, sexuality, and cultural fluidity in the arts. How do you navigate this intersectionality in your work?
Intersectionality is a very important part of my arts. And I guess that makes my voice a little more important than the others. After each podcast that I am featured in, my Instagram messenger/feed is full of appreciation and a lot of abuse too. The abuse comes from non-acceptance. In the year 2004 when I staged a reading of The VAGINA MONOLOGUES in a bookstore in Kolkata, I remember the iconic author Nabaneeta Debsen(who was in the audience) telling me, "Sujoy you are breaking norms and that comes with wounds. But you shall heal through your art". I think that kind of sums up my artistic trajectory.
Reflecting on your journey so far, what have been some of the most transformative moments in your career?
There are many such moments. Meeting theatre veteran Sohag Sen and having her as my theatre mentor has transformed my outlook in acting. Working with filmmaker Aparna Sen on a poetry project has been very important to shaping up my vision in spoken words. Collaborations with contemporary dancer and curator Paramita Saha has helped me to imbibe a world view of arts. My artistic portfolio of working on Rabindranath Tagore's literary ouvre has been inspired by veterans like Bijoylakshmi Burman, Chaitali Dasgupta, Pramita Mallick and so many other legends. And yes, one person who has never failed me as a friend and a huge support of my arts is actress Rituparna Sengupta. I have learnt a lot of my professional footwork from Ritu. A huge transformation in my arts has happened following my mother's death. She was the fulcrum of my arts when I began my career. What I have learnt from her is resilience.
