In the circle of creation
LEELA VENKATARAMAN
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The 9th National Festival of New Choreography in New Delhi revealed a gamut of expressions.
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Photo: Sandeep Saxena
TRADITION REVISITED A scene from Aruna Mohanty's Varsha Vaibhav.
Without quibbling on what `choreography' means in the Classical Indian dance context and whether `New Choreography' underlines the date of creation or merely means an endeavour lying outside the realm of the conventional repertoire, what is indisputable is that Impresario India's 9th consecutive annual "National Festival of New Choreography" has acquired an enthusiastic clientele of well-wishers. From the traditional Mahari to a tiny eight year old in a group, dancing with panache, the festival has provided a platform for a gamut of dance expressions, innovative and tradition-bound.
Using three dancers in multi-perspective arrangements, at times separated and at others coming together, Geeta Chandran's Bharatanatyam vision in `Bahuda' began with `Prathama' interpreting the traditional Mallari nritta through group imagery with three dancers. Entering in slow, clean `sarukkai' gait, the dance imperceptibly blossomed from meditative slowness to a doubling and trebling of tempo. Pratidhwani, an abstract work of choreographic patterns inspired by the symbolism of the `echo', in a clever sound atop sound, had dancers at times essaying movements a fraction after one another in a kind of Doppler effect rendered to Sudha Raghuraman's Kalyani music. Clean, sure movements by meticulously trained students ensured the sharp formal contours of Bharatanatyam being preserved. The Balamurali Tillana while rendered with joy, had in Sandhya Raman's costume designing, too much black. Presented last year Kalidas' Ritu Samhara done to Tchaikovsky's music, in its unique cluster and movement formations, has acquired greater polish.
Aditi Mangaldas' Kathak offer Gurave Namah through rhythmic rapture in 10, 12 and 14 matras paid homage to that invisible Guru, dwelling in every manifestation incorporating the five elements like Mahadeva himself. The programme with aesthetic costuming and fine dancing ended with the colourful exchange of Hori, Brahmananda's verses interspersed with Dhamar taal virtuosity.
Totally anchored in the conventional dance structures, was Kanak Rele's Mohiniattam creations rendered by Nalanda students. Unique in content rather than technique, barring Madhavi Deshmukh the best of Nalanda was missing. To the Natakuranji Sopanam music sung by Gireesan was Ganapati. The compositional brilliance was evident in Tatwam a ritualistic performance inspired by Tantric Bhagavati worship where the cadenced architectonic enhancement of rhythm and movement had a meditative quality (where each dancer should have been on a private spiritual journey). Kanak Rele's solo Gandhari item in this group festival was out of place.
Absorbing work
Manipuri Nartanalaya's Samavratee visualised by Bimbavati Devi evoked rapturous applause. Using Manipuri body language along with Mayurbhanj Chhau and martial dance forms of Bengal like Raibenshee and Paik, Bimbavati has created an absorbing work - its layered treatment keeping the body techniques undilutedly separate, while integrating in a narrative on Gauranga of Nabadwip evolving to Sri Chaitanya Mahaprabhu - his loving wife Vishnupriya dealing with her own dilemma in changing her romantic attachment to one of spiritual following. Painstakingly trained dancers, music providing the right fillip composed by Dilip Roy and Suman Kumar and exquisite costumes enhanced the appeal. Allowing for artistic freedom, while allying fears of delicate fabrics of regional dances being diluted by such mix and match efforts, Bimbavati does mention (brochure) "using Manipuri along with" other dances. The stylisations have been very sensitively used.
High marks
Just for its unalloyed sense of fun and humour, one would give Ananda Shankar Jayant's Panchatantra high marks. Kinetically challenging, Ananda captures images of graceful cranes, slow moving tortoise, slithering crocodiles with the tail being used in a jaunty jada twirl in Kuchipudi fashion, doves in a net flying in unison to freedom, impish monkeys, prowling lions - in a production where tales for all seasons enthral all age groups.
Involved male and female dancers, imaginative costuming, and to-the-point witty commentary ("You can't eat your friends and have them too") and fitting music by Prema Ramamurthy (largely instrumental with Western and Indian instruments), add up to a clean winner. Created in 2006, the work has evolved to new slickness.
Perfect finale
Varsha Vaibhav by Aruna Mohanty with students of Orissa Dance Academy created a perfect finale.
The starting Mangalacharan now lyrical, now vibrant, saluting the Pancha Bhutas, progressing to nritta sensuality set to drum beats and melodies of "Manasu Mana", went on to a delicate sringar interpretation of togetherness and separation in "Barasa Rasa Nayana", ending somewhat grimly in Shrushti Pralaya with nritta building up to the fury of wind and water in cyclone and sunami.
Ramahari's score, immaculate technique of grace-filled dancers, and fine synchronicity characterised the evening.
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