In a new light
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`Darshanam' is an `ode to the eye' in its sublime presentation.
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IT WAS a performance with a purpose addressed most aesthetically to a diverse audience. `Darshanam' is not just `an ode to the eye'; it is a tribute to vision in more ways than one. Ananda Shankar Jayant and her team (Shankarananda Kalakshetra) chose the Bharatanatyam idiom to conceptualise the countless connotations that the faculty of sight could be vested with in the Indian context.
Taking recourse to ancient literature and mythology as well, choreographer Ananda culled out meaningful verses from Kalidasa, Adi Sankara, Surdas, the Bhagavad Gita and a few from Tamil poetry. These were carefully crafted into coherent thematic composition that was encapsulated into the Bharatanatyam module. The focus was not allowed to slip at any point of time, it only shifted from the realms of the gross to the sublime. Distinctive choreography, interlaced with a briefing in English and a metaphoric costume designed with artistry, lent an intellectual aura to the entire presentation.
Tracing the basic eye postures in the linguistics of the dance medium, the dancers - five in all - translated the descriptive verse into mime and movement falling now and then into exquisite patterns and postures that were visually pleasing. Then followed two verses from `Soundarya Lahari' (verses 48 and 51) where Shakti (creative energy: female principle) is depicted as a three-eyed deity that ushers in the sun (right eye) the moon (left eye) and the twilight (third eye between the eyebrows).
The fleeting expressions in the eyes of the Mother Goddess as she glances at her consort Shiva (male principle) were beautifully retold by the group of dancers with elucidative gestures, facial expressions and complimentary footwork. The vocal rendition (Venu Madhav), at this juncture could have been a little more lucid especially since it was culled out of a rich Sanskrit poem full of alliterative quality.
The `swaram' leading to the various descriptions of heroines in Sanskrit classics based only on the eyes (Meenakshi, Neerajakshi, Mriganayani) were impressive . The artists touched all the three cycles in graceful rhythmic steps with `mudras' that depicted the fish-eyed, the lotus-eyed one and the doe-eyed beauties. The slow flowering of the lotus gave way to a fast-track footwork for the frisky deer, which came across as an impressive piece of artistic creativity.
Going back to the three-eyed deity Shiva, the masculine, divine dancer, the verses from Bhilvashtakam were aptly chosen to present the third eye principle - the fire that can consume the universe when provoked. A set of brisk `jatis' to an equally fast syllabic run augmented the martial quality of the mythological Shiva. Complex footwork that gave sufficient room for all the five dancers (a number representative of Shiva, lord of Panchabhootas) to shift positions in the most metrical moves was at once deft and agile.
Ananda's impromptu lithe movements mark her out even in a crowd. The culminating posture of this piece was by large the most striking by way of the dance element though the Kannappa episode was inspiring in the `abhinaya' aspect. Here, Ananda opted to do the solo as the characterisation required.
Right from the hunter tribesman's darting looks and lightning moves to the intense emotion of donating both the eyes in utter devotion to the lord Shiva, she gave her best in terms of `nritya' and `abhinaya' carrying the pathos of this episode to its emotive pitch.
The posture where she stands (as a semi-blind Kannappa) behind the seated bleeding Shiva on the pedestal and crosses her uplifted leg to access the bleeding eye stood out as one of the most convincing stances of the performance. The choice of this story was a gentle reminder of eye donation as a selfless act so significant in the path of a spiritual seeker.
A Surdas `bhajan' imploring the lord Krishna to bless the blind poet with a divine vision and Arjuna in the Kurukshetra war field also entreating the lord for a Vishwaroopa `darshanam' were the tailpieces with a hidden agenda beautifully wrapped in an artistic illustration.
`Darshanam' was a revelation to the audience of the various aspects of human life where spiritual strength surpasses all physical impurities.
The charcoal black silk costume with a contrasting cream white pleated centre, black and gold beaded neck adornments and hair do with `khol' laced eye make up was reminiscent of the sclera and iris of the physical eye even as it was aesthetic. The use of different languages was a thoughtful gesture keeping in mind the cosmopolitan audience. Nattuvangam by Renuka Prasad was fine but Venu Madhav on the vocal could have scored better especially in rendering the Sanskrit and Tamil songs with dialectical variations.
The team of four dancers — M. Mamatha, Manjula Dorairaj, B. Aarati and T. Radhika were at their best both in strong footwork execution and good synchronisation. Percussionists Sridaracharya and T.P. Balasubramaniam made their presence felt. Sai Kumar on the violin and Uma Venkatesh on the flute were pleasant. `Darshanam' was staged under the aegis of the L.V. Prasad Eye Institute.
RANEE KUMAR
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Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
