Wonderful in their simplicity
S. SIVAKUMAR
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It was culture seen through a kaleidoscope.
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Photos: B.Jothi Ramalingam
RICH: The U.P. troupe (left) and Kerala’s ‘Padayeni.’
Three events, all top class performances by troupes from U.P., Kerala and Haryana, reiterated that India’s rich folk tradition has stories that are immensely instructive and entertaining. The form and content of the performances pinned their
faith in simplicity, choosing inspirational and lovable episodes from the epics, giving it artistic expressions. The presentations were perfect in conception, coordination and execution.
The folk artistes who made their show at the Bharatiya Vidya Bhavan’s main hall, were “sufficiently awake to the beauty and wonder of the world and their art intervened to reveal these wonders,” as E.M. Forster would put it.
Charkula Arts Academy (UP) presented Mayur dance, the love-story of Radha-Krishna. Radharani, lost in love in maur kuti (Barsana) desires to see Krishna as a peacock. Krishna realising this grants her wish, and they dance together. Other pairs joined attired in peacock feathers. The song-lyric itself narrated this story poetically. Another piece celebrating Holi also witnessed a dance that had a liberal artistic smearing of colours using the fine petals of marigold that reached a crescendo drowning Radha-Krishna in its shower of flowers.
Delightful presentation
Haryana’s artistes gave “Ghoomer,” which literally means going around, and it was a delightful spectacle when young and lively women in vivid costumes went round dancing, showing great flexibility in the use of their head and feet.
Modernisation notwithstanding, men and women are not allowed to dance together in Haryana, even today. This troupe had an octogenarian-drummer, Dharam Chand, who handled the instrument with rare alacrity. Dr. Ramaantha, who rendered the songs with traditional and full-blown ease, was the master-choreographer.
Kerala’s folk men, presenting Padayeni — a ritualistic performance — turned to less mundane material and sought to give an imaginative interpretation to the Yama-Markandeya episode treating it as a realistic scuffle. Yama in a Kathakali-like costume armed with a rod of fire, postured himself in all four directions with smouldering eyes reflecting his mission. Midway, Yama’s anklet was detached indicating that his strength has been depleted by the power of Siva, invoked by Markandeya. The beats from the drum and the forceful rendering of the songs added to the gravity of the situation.
Narayana Vishwanath, Member, Programme, South Zone Cultural Centre, was the resourceful anchor for the show. He recalled how this set up came into being in the year 1988, at the instance of Rajiv Gandhi — the idea being to seek a self-sustaining model for such performers and groups — “cultural tourism” with emphasis on folk art.
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