Dancers break the partitions of solitude

Dancers break the partitions of solitude


4 exponents of 4 classical dance kinds carry out thought-provoking items on the Anvesana pageant

It was a pleasure to look at stalwarts of 4 Indian classical dance kinds, Bijayini Satpathy (Odissi), Methil Devika (Mohiniyattam), Rama Vaidyanathan (Bharatanatyam), and Aditi Mangaldas (Kathak) at ‘Anvesana: Reflections in Solitude’, a digital dance pageant.

“It’s fascinating to look into the minds of a creator. Does a bodily lockdown imply a lockdown of spirit and creativity?” requested Lata Pada, creative director, Sampradaya Dance Creations, Canada, which organised the pageant. Whereas offering alternatives for younger artistes with digital initiatives such because the one based mostly on Maya Angelou’s autobiography, A Caged Hen Sings, and ‘Danceconnects’, which invited movies from dancers throughout the globe, Lata conceived ‘Anvesana’ for senior artistes, who’ve had pressured durations of solitude within the absence of performances and excursions. The dance pageant was supported by the Canada Council for the Arts, Ontario Arts Council, Metropolis of Mississauga, and Division of Canadian Heritage.

The dancers got about six to seven months to return with new works of 30 to 40 minutes. A part of the proceeds of the pageant was given for Covid-19 reduction efforts in India.

Abandoning not one of the fleet-footed sensuality of Nrityagram’s Odissi, Bijayini Satpathy’s model is evolving with a slower depth, broader chaukas, one-legged positions held longer, and fewer groundedness. Virtually like a flower blooming, petal by petal.

Gradual build-up

Her manufacturing, the ‘Name of Daybreak’ has three items in raag Ahir Bhairav; Bijayini difficult herself to not make them sound or seem repetitive. The dancer is in nice form, going au naturel with gray hair.

Bijayini presents the narrative of a younger lady who, whereas worshipping Shiva, experiences her personal sensuality behind the imagery of Ardhanareeshwara. With confidence she decides within the subsequent Nazrul Geeti ‘Aruno kanti’ that she can not marry the awe-inspiring Shiva, and chooses the charming Krishna as a substitute. The Pallavi (Sukanta Kumar Kundu), is a celebration of anticipation, identical to the Chakravaka lovebirds.

The quick efficiency steadily picks up tempo, as does the music (Bijayini, Srinibas Satapathy, Shivashankar Satapathy and Bindumalini Narayanaswamy) and lighting (Sujay Saple). The haunting melody of ‘Ta nom ta ta nom’ cuts by the darkness because the Ardhanareeshwara sloka unfolds. That is the slowest piece, filmed in partial darkness, with little reflections of the ripples from an uruli including lighting results on the dancer’s face as she portrays the Ardhanareeshwara imagery.

The Nazrul Geeti has much less embellishment and is sung at a brisker tempo. The aerial pictures in the course of the raas section are fascinating. The final, a conventional piece, is essentially the most vibrant and vibrant. The digital camera (Mahesh Bhat) is unobtrusive aside from some pleasure in the course of the pallavi.

Robust on abhinaya

Methil Devika banks on her distinctive abhinaya to current the story of Ahalya from Valmiki Ramayana. She spoke of how Valmiki had handled Ahalya briefly however sensitively, in contrast to later commentators whose interpretations got here from a harsher, male-dominated socio-cultural standpoint. In keeping with Valmiki, she was cursed to stay invisible, subsisting on air, till Rama steps into her hermitage and blesses her.

Readability and ease are the hallmarks of the session. Devika is as swish and minimalistic as Mohiniyattam is supposed to be. We will see calmness in essentially the most dramatic of moments — in the course of the lustful Indira’s entry and when Gautama catches the erring couple. Robust feelings are proven with out shedding the grace of the model.

The start is quite poetic — Rama questions Viswamitra concerning the abandoned hermitage. As the interpretation of the Sanskrit textual content scrolls throughout the display screen, the digital camera focusses on the hasta abhinaya (hand gestures). Devika’s ekaharya abhinaya, a soloist enjoying completely different roles, is on level and clear. Her facial expressions sustain as Devika switches characters. She delineates the story and has explanatory texts working throughout the display screen as properly.

The music flows easily, with the ragas altering at opportune moments. Devika breaks the storyline into melodious swara passages from time to time, gliding gracefully by the dipping actions with out disturbing the temper. The lighting (Madhu Ambat) is restrained, most ingenious when exhibiting the passage of time when Ahalya is invisible. The jerky digital camera work is the one spoilsport that creates abruptness in an in any other case seamless piece.

Past the grammar

A results of the “time spent with out the urgency of performance-oriented follow” is Rama Vaidyanathan’s ‘Transferring Boundaries,’ which tries to barter the boundaries of her dance. Bharatanatyam has a inflexible grammar, so the adavus are an excellent place to begin. Dramatic opening — Rama in an araimandi place patiently executing the fundamental first Thattu adavu, ‘Thayya thai’. She later tries to discover the identical beat by a number of actions. The identical goes for the ‘Tha thai thai tha’ adavu including a tisra twist and for the flowery theermana adavu ‘Kitathaka tharikitathom’.

The method of unlearning continues with songs from Thirumular’s Thirumanthiram (second century), an ode to Shiva because the Brahman. Rama retains to the literal which means of the songs, which fits her theme — freedom within the dance enviornment (Ananda aada rangam), when boundaries merge (Bhootanda peydanda), and when boundaries paved the way (Addangathai yennai addaki). Particularly placing is ‘Bhootanda’ (Mayamalavagowla raga, Adi tala), the tune peppered with dramatic parts corresponding to a tanam, layering within the neraval, and swaras, the dance included bits of a tisra alarippu alternating with the tune, steps set in khanda beat following the rhythm throughout the phrases and extra.

She makes use of free-style non-traditional steps that comply with the higher, center and decrease octaves of the gorgeous music (Sudha Raghuraman). Metaphors like a hovering kite, raindrops, a peacock’s completely satisfied dance, symbolising a dancer with out shackles, are successfully used and caught on digital camera (Inee Singh). The final scene is essentially the most dramatic — the dancer in araimandi practising ‘Thayya thai’ illuminated by the identical band of sunshine (Gyan Dev). A return to the fold maybe?

Digital camera retains time

‘Misplaced…within the forest!’ is all concerning the sthayi of the pandemic. As Aditi Mangaldas says, “Dance must breathe the air of the now.” Gorgeous music (Shubha Mudgal), arresting visuals corresponding to eerie, empty frames shifting within the wind, and good tatkaar in ‘Naav mein nadiya’ (Boat within the river), a poem by Kunwar Narain. It’s concerning the chills of a dark evening, a darkish river, life and loss. The digital camera appears to be in a frenzy. When the dancer twirls, it twirls too and sooner or later it seems to be like each could collide. Aditi explains that the digital camera’s actions have been intentional, so as to add to the sense of being misplaced.

She stands by the window watching helplessly, ready, or generally reaching out as Shubha sings, ‘gehra hai, andhera hai..’ (it’s deep, it’s darkish). The fleeting second of hope is gone. Hope build up and dwindling, is a continuing by the piece, because the dancer searches for secure floor.

Aditi’s subsequent piece is lighter, a Bharatendu Harishchandra poem, Chhan chhan chhip chhip (translated as ‘now seen… not), tells of the moon rising and hiding. The protagonist is a deer that’s startled by the looks of two moons, one within the sky and the opposite, a mirrored image within the water. The tihais in teen taal are good, the dancer turning right into a deer on the sam each time. The digital camera appears excited with aerial angles, however when it tries to maintain tempo with the dancer at eye-level, it’s disturbing.

As she leaps throughout the forest as a deer, Aditi’s vitality is unstoppable — she executes a 33-chakkar sequence because the deer sees the moon emerges from the clouds.

General, a pageant with thought-provoking items throughout these occasions of despair.

The Chennai-based writer writes on classical dance.



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