Rhyme in rhythm...
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Masako Ono presented traditional and modern choreographic works in New Delhi.
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Photo: Shiv Kumar Pushpakar
VARIED PERSPECTIVES Masako Ono (centre) with her group.
Masako Ono and group gave a performance of Odissi and other dances at The Ashok Theatre the other day. The stage was aesthetically designed by Naresh Kapuria. It is to be noted that Kapuria, a prolific stage designer, comes out with something different in each programme.
This is an artistically sound approach, since no two productions have the same requirements. But not everyone follows it, most people being more concerned with imprinting their `signature style' on the public imagination. The suspended lamps at stage right were particularly eye-catching, while the platform running along the back gave the choreography scope for levels.
Masako began the performance with traditional numbers choreographed by stalwarts of the tradition and ended with two interesting pieces of her own, in which she changed both style and costuming, drawing upon various other techniques she is equipped with, like Modern Dance, yoga and others.
Tableau formations
The opening mangalacharan was an ode to Shiva, using tableau formations and abhinaya to show mythological episodes like Shiva swallowing the poison, his destruction of Kama and others.
The mangalacharan, performed by Masako along with Sushant Das, Manas Das, Rudra Narayan and Ranjita Choudhury, was choreographed by Guru Pankaj Charan Das with music by Ram Hari Das.
The Kiravani pallavi that followed was set to Khemta tala. A composition of Kelucharan Mohapatra, the pallavi performed by Masako along with Sushant and Rudra, was pleasing in its use of asymmetrical formations. This was true of the mangalacharan too. One however felt that with the dancers often climbing up and down the steps leading from the platform to the main stage area, the caution this necessitated took away from the intrinsic grace of Odissi. Masako, Japanese by birth, learnt Odissi under Gurus Kelucharan Mohapatra, Ramani Ranjan Jena, Bichitrananda Swain and Naba Kishore Mishra.
Other influences
She is also acquainted with Flamenco, Contemporary Dance, African dance, Chhau, and Kalaripayattu. This varied background is a good foundation for her as a choreographer. Masako next presented a choreographic piece based on haiku, the Japanese short poetry form. Danced by Ranjita Choudhury, it was set to music by Louis Banks.
The concept of haiku is eminently suited to Indian classical dance, whose practitioners are trained in the art of expanding on the tiniest of moments, either by using varied mudras to express the same word or set of words, or by introducing different ideas and literary allusions into a simple line. The chosen haiku here was about a butterfly flying in the freezing cold towards the warmth of the sun. Masako, however, took an abstract approach, using movements and not overt expressional technique to convey the idea of hope and new beginnings. She stayed away from Odissi movements. The last piece was a solo performed by Masako.
Yoga asanas
Described as a homage to the Heart Sutra of Buddhism, this had highly percussive music by Pete Lockett. Masako made use of several yoga asanas in the flowing choreography. After the richness of traditional dance, it is always difficult to adjust the eyes to the more minimalist demands of contemporary choreography. Thus, apart from providing variety for variety's sake, the mix, for no intrinsic fault, is not particularly satisfying.
But what really disturbed was the smoke machine. Indian dancers seem to love this contraption. Even if they like its visual effects, they should remember it has an audio aspect that can't be missed.
ANJANA RAJAN
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