Graceful and daringly artistic

DAKSHA SHETH'S reputation for otherness having preceded her, many at the Sri Krishna Gana Sabha who had come out of curiosity for a dance believed to be out of step with the apostles of respectability, were blitzed by the superbly trained bodies, engaging in the type of physicality one does not associate with Indian dances. Combining fluid grace with electric power, the troupe gave an exhibition of high professionalism and hard training, grounded on totally Indian disciplines of the martial arts like Kalaripayattu and Chhau, Mallakhamb, and classical body languages like Kathak and Bharatanatyam.

The sequence epitomising sensuality, an excerpt from Sarpagati, a larger work (the snake seen here as a symbol of fertility), with the entwined male and female bodies of Isha Shervani (Daksha's daughter) and Anil Kumar slithering in and out of the most complicated positions, the Yoni geometry clearly outlined in space, is one of the most daringly artistic creations in Indian choreography. The dancers in their boneless smoothness perform movements, which have immense potential for inflicting grievous injuries on the body, given the slightest lapse in mental and physical concentration. Skimpily clad, the duo dance with an almost yogic energy creating a stillness, far from any impure associations. Devissaro's minimalistic approach in the music is another original feature. It was interesting to see both culture shock and stirring wonder amongst members of the audience.

Daksha's solo Kathak epitomising the heroine waiting for her beloved, based on Antonio Vivaldi's music, in a work entitled `Summer', was her first attempt in 1986, to venture out of what, at that time, was a stifling classical dance environment for the dancer, who, after this work, was banished to the proverbial doghouse by Kathak strongholds. Viewed at this point of time, the excellent marrying of chaste Kathak `chakkars' to the western music, in what looks like a made for each other suitability, seems almost Victorian in its staid character, and one wonders what could have provoked so much bile. It was of course the using of a very traditional platform for an experimental work - which the rebel in Daksha has often risked.

The traditional Kathak nritta coming after an eloquently abstemious invocation to Saraswati based on Dhrupad music, had all the ingredients of a `Dhakit Dhakita Dhadhakita' tukra, a `takita takita dhin' ladi and some delicately rendered `Gats'. But with the sound system playing tricks and the lehra (musical refrain) on the tape providing a now soft, now loud melodic background, and without a live tabla for support, for this critic, the sequence, despite Daksha's undeniable prowess, was disappointing.

Live guitar music by John Varkey with Tony John on the drum provided a new resonance to some of the dance numbers.

Bhukam (Circus of Earth and Sky), the group's latest production done in association with a multi-media performance group from Australia, explores new dimensions in physicality with breath- taking aerial movements on pole and rope suspended from the ceiling. Snippets of the ground sequences presented did not give a real insight into the whole work. It was wonderful however to see the complete coordination in movements with four dancers Anil Kumar, Rajesh Raveendran, Isha and Daksha performing.

The organisers must be congratulated on being very open-minded in agreeing to present this troupe on what is a traditional platform. One impression all viewers will carry home is the high level of the performers, with no compromises allowed either in physical fitness or in art proficiency.

Tumult and dazzle

Few dancers can equal the Reddys in lighting up the stage with the tumult and dazzle of Kuchipudi. Their recital at the Sri Krishna Gana Sabha with Krishna as the thematic concern treated one to all the advantages of working with a permanent set of musicians, in the impeccable music/dance understanding.

As impressive was the judicious distribution of roles for Radha and Kaushalya, each presenting dance numbers ideally suited to one's personality. Kaushalya's overwhelming confidence in herself and her art abilities, found the right medium in Oothukadu Venkata Subbaiyer's long drawn sahitya and rhythmic syllable mix in a Kavutvam like composition portraying Krishna's triumphant dance on the hood of the subdued serpent Kalinga.

The mixed rhythmic cadences had the right vehicle for communication, through Kaushalya's technical command. The Jayadeva ashtapadi ``Nijagada Yadunandana'' depicting Radha as swadheenapatika or the heroine glorying in the confidence of being the loved and desired one, was portrayed in all its erotic underpinnings, through some unabashed abhinaya.

While describing Krishna's kisses which have removed the khol from the eyes, the little laugh almost in a recollection of the delightful naughtiness of a shared moment of intimacy, was a brilliantly suggestive touch. But I am less sure of the choreographer's approach to visualising Radha in the indolent and sensuous glow of after-love, as indulging in brisk rhythmic passages between the interpretative sequences.

Dancing in excellent coordination as is their wont, Raja Reddy and Radha Reddy were a rhythmic delight, in spite of Radha's dancing seeming a little forced to start with, in an item inspired by a Tarana composition in Natbhairavi by Pandit Ravi Shankar, set to Eka talam. Oothukadu Venkata Subbaiyer's other composition for the evening `Natawara Taruni' with a score in Kannada Gowla, became in the dance an expression of the joy of Raas by Krishna and Radha. The lyric was seamlessly tagged on to a ragamalika score for verses depicting Geetopadesham.

While Raja as Krishna and Radha as Arjuna are both animated performers, the arrangement of the verses from the Gita, obviously dictated by dramatic compulsions, does not sequentially follow the order in which they are in the text, thereby confusing the viewers for whom the Gita is familiar material. And Sai Bhavani's singing while gloriously melodious, in places found the splitting of compounds in the sahitya a little awkward, thereby changing the meaning of the Sanskrit verses - like `Gataasoon' and `Agataasoon' being sung twice as `Gataasoon'.

Now in the fifties, Raja still dances with rare grace, as in the opening item on creation, and emergence of sound and Ganapati, who summons the Trinity to begin the cosmic process. In the end, a bhakta worships Ganapati as the Lord of Devaganas and Brahma- tatwa. Based on a minimalistic one line score to start with, the dance in a gradual increase of tempo proceeds from repetitive movement to complexity of rhythm patterns and dance, reminiscent of the elephant's gait.

The balanced and well-knit musical team was lead by Kaushalya's authoritative nattuvangam along with Sai Bhavani (vocal), Bhasker Rao (mridangam) and Annadorai (violin).

Costumes were aesthetic and exits and entrances well worked out.

Not the best of Bharati Shivaji

Bharati Shivaji, Mohiniyattom expert, who has been, rather belatedly, honoured with the Sangeet Natak Akademi award this year, was not at her best. Right from the start of the recital with invocation to Devi Mookambika, manifesting as Lakshmi, Saraswati and Kali, with the music set to melodic modes Reetigowla and Saurashtram, one felt that the distance between the dancer and the audience was not being bridged - a very rare occurrence with Bharati whose dance always communicates very convincingly.

Even in the rhythmic Mukhachalam in ragamalika and talamalika, it was a distracted dancer, with a yet untried new costume, which was too long and kept getting in the way of the feet. Apart from tripping a couple of times, Bharati had to keep bunching the pleats and holding them up to give herself the freedom to use her feet. Not surprising that she was not in her element.

One had a measure of the dancer in the Padam, a Swati Tirunal composition in Kalyani ``Endu Mama Sadanattil''. ``Why have you now strayed to my house?'' asks the khandita nayika laughing mockingly. She accuses the unfaithful man of forgetting and breaking all his promises to her. While she suffers the `Kamala Baana' of Manmatha, which thwarts her, she still finds it in her heart to forgive the nayaka and in the end lovingly draws him into the house.

This is a composition in which one has often experienced the slow nectar of emotive resonance that Bharati always builds up. While the rendition this time was not of quite the same intensity, it was still moving, with singer Sadanam Rajagopalan adding his own bhavam to the music.

The Gita Govind Ashtapadi in Kedargowla and Sri ragam was very different from the version so often seen in Bharatanatyam. `Rati Sukha Sare' has the sakhi imploring Radha to shed her inhibitions and join Krishna whom she portrays as waiting eagerly for her arrival, on the banks of the Jamuna.

The music sung in the style in which it is still rendered in the Kerala temples, with the abhinaya in typical Mohiniyattom style gives a unique flavour. And one saw glimpses of the Bharati one knows in this item.

Jeeva with music in Anandabhairavi and Madhyamawati ushered in the finale through pure dance in a gradually increasing tempo.

Kavalam Padmanabhan provided Maddalam support and on the Edekka was Kalamandalam Sivakumar. K. V. Rajesh on the veena gave melodious accompaniment, along with Saravanan on the flute.

LEELA VENKATARAMAN

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