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Rhythm for a cause
Shobhana and her students... seamless flow.
WITH NOTES, melody and feet gliding the evening at Music Academy on August 24 was an example of social consciousness fusing with culture. Which came first? That was not the point. What mattered was that artistes gave much of themselves — a lot of their soul and being was given to a cause that is now reaching its 10th year.
A commitment made to women who have no homes, who don't know who they are, don't know where they will go. But they do know that, thanks to the dedication of The Banyan, they have a roof over their heads, food to eat and people to take care. The Banyan lives because of these women! And there have been many along the way who have been moved by their plight — friends and well-wishers — who constantly want to share the responsibility in some small way.
People like Shobhana who got up on stage, despite a personal loss just a week before. ``The show must go on," she had said earlier and Kalarpana presented Rhythmscape in aid of The Banyan.
Beginning almost right on time, Shobhana and her students displayed rhythm to the accompaniment of music by Ganesh and Kumaresh.
The item was full of flourishes and patterns that stood out for its seamless coordination. This was followed by something that went beyond rhythm and melody to build a bridge between modern and classical sounds.
Bikram Ghosh and his band unleashed multi-level percussion pieces that seemed to reflect the spiritual and the intangible soul of the evening.
Bikram Ghosh is now no stranger to Chennai. He has accompanied Ravi Shankar on the tabla and is leader of a band with terrific percussion support.
Bikram Ghosh and his team... powerful percussion.
There is Pandit V. Shekhar on the mridangam, V. Suresh on the ghatam, Dev Shankar and Jyothi Shankar on the electric violin, Pulak Sarcar on the keyboard and Parthasarathy Desikan on the vocals. Through his brilliant tabla playing Bikram takes the band into new realms.
Their first piece was `Dance Of Shiva' roughly based on rag Jog which had some truly inspired playing by the duo on the electric violin and vocal by Parthasarthy. The mood was that of total bhakti as the number went on to its fluid conclusion. Following this was Sync, a number based on a feel of jazz synchronising with Indian beats and melody.
Then came Little Krishna as a tribute to the tradition of Carnatic music in Kalavathi. Gangotri added colour to the music as the Ganga, to which it was dedicated, came down in frothy white, blue and gray. The drums by Taufiq Qhureishi evoked a vision of white while the sound of the bells became blue, and the constant refrain Hari Om brown, mustard and shades of green. The Ganga that day was a kaleidoscope of colours.
A lengthy Tani Avartanam concluded the music part of the show, which was then taken over by Shobhana to the finale - a piece done with masks and striking costumes. It was racy and energetic, but not purely traditional or classical. There was a touch of the cinema. The excellent accompaniment of her students and the music, however, made it a memorable performance.
CHITRA MAHESH
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