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Abstract theme skilfully executed
Anita Ratnam in "Vaitarani," ... beautifully explored.
ANITA RATNAM knows exactly the ways and means of blending the traditional idea into a network of contemporary idiom of dance. Her recent production, titled "Vaitarani," focuses on the Hindu belief of the Soul's crossing the river of bondage, and proceeding to ultimate Salvation or Moksha.
Anita staged this contemporary work based on traditional theme for the festival of Kartik Fine Arts.
Anita had tactfully adopted this thin idea of the crossing over and elaborated it beautifully and explored every possibility in connecting the main theme with ample supportive links_ a well-conceived and well-executed idea.
In the first part, Revati Sankaran adopted the lively technique of story-telling and gradually developed on aspects of creation, the initial vacuum, the sound, the Protectors of the Eight Quarters, the emergence of Kama or desire as the foremost rasa, which gives rise to the different developments in human evolution, the space, the kala or the element of Time, and finally the Lord of Kala, who is also the Lord of Death, and whose approach is to be welcomed by each individual at any point of their life.
The mode of dance-theatre was aptly used for a smooth portrayal of these different links explained in the prologue.
This part of the play entitled "Marali," meaning the God of Death (Yama) sailed on a light-hearted approach and was made interesting with Revathi aptly singing several of the old gems of film songs that have stood the test of time with their eternal appeal.
However, the depiction of the arrival of Yama ended on a serene note and the scene was quite picturesque with the God of Death depicted by a folk-artiste, standing on wooden poles. The ever-watchful eyes of this Kalapurusha were brought in at appropriate moments in this segment to emphasise the omnipresence of the element of time in all that we do. Each one of the vibrant dancers like Akhila, Narendra Kumar and others contributed amply to this part of the play, which could be enjoyed even by the layman.
The second section called Vaitarani, featured Anita portraying the journey of the soul towards the final salvation, its intriguing moments of life and death earlier, the life-giving chantings that strengthen the soul, its release from the physical frame, its travel towards the river of bondage, the inner search of the soul for the Supreme (Anita singing excerpts from devotional hymns) and the final culmination were fine examples of Anita's deep analysis of aspects of such presentations through effective communication. Explaining abstract ideas with movement techniques as the major source of expression is by no means an ordinary task. Also, to opt for a traditional idea like this and to assemble it in an impressive manner is even more difficult. Herein Anita once again proved her multi-faceted skill, as a dancer, choreographer, and theatre specialist.
K. S. R. Aniruddha's rhythmical compositions, especially the one on the arrival of Yama were noteworthy. Suki accompanied on the percussion skilfully while Srividya managed the conducting of the entire presentation. Lighting (Pankaj) and thoughtful stage prop (in Vaitarani), simple and interesting costume (for Anita-Vaitarani) by the ever resourceful expert, V. V. Ramani, enhanced the different moods and situations to a great extent.
NANDINI RAMANI
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