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Meaningful interaction: Rhadha

Borrowed from the Khamas Thaat of the Hindustani tradition, Khamas blossomed in its use for Bharatanatyam, taking on different hues, the nature of the raga changing in gait and manifestations with changes in nishadam and gandharam. Tyagaraja’s compositions never used the kakali nishadam. But later texts such as Sangeeta Sampradaya Pradarshini, said Sujatha, mention the Kakali nishadam. The Thanjavur quartet Khamas and other raga varnam compositions, given their gurukul training under Muthuswamy Dikshitar, were best examples of classical ragas which can be adapted to the needs of dance.

In the vintage Thanjavur Quartet 2 kalai varnam ‘Samiyai Azhaithu Vaa,’ the ‘Va Va Va En Mozhi Ketka,’ charanam refrain becomes the ideally persuasive voice of the nayika urging the sakhi to play messenger. The demonstration (with solfa passages composed by Ananthalakshmi Sadagopan) by Rhadha ideally illustrated the point. The same Khamas note could also evoke a feel of pangs of desire.

Sujatha Vijayaraghavan.

Khamas has become synonymous with sringaram and padams such as Muthu Tandavar’s ‘Teruvil Vaaraano’ are a cherished legacy of the Bharatanatyuam repertoire. Rhadha concluded with a Khamas tillana, set to dance by Vazhuvoor Ramiah Pillai, the composer’s name unknown. Sujatha ended on a memorable note quoting author Kothamangalam Subbu of Tillana Mohanaambal fame: (where he has a character Khamas Kittavaiyer) when asked as to what was so special about this raga: “You sing other ragas and the dancer dances. But in Khamas the raga itself dances.” A fitting definition of Natya Sangeet!

Mahua Mukherjee’s single minded research into the classical traditions of Gauda Desa (roughly the region now known as Bengal) and her creation of Gaudiya Nritya as the classical dance that must have existed in Bengal is essentially the work of one individual. Now the head of the dance department of Rabindra Bharati University, Mahua Mukherjee’s lecture substantiated by visuals of Bengal’s sculpture, with plentiful references to dance in literature was, as is her wont, unexceptionally well argued.

Starting with the ‘kaisiki’ reference in the Natya Sastra under which category Mahua places Gaudiya Nritya, she also mentioned Matanga Muni’s Brihatdesi which lists Gaudiya as one of the regional variations. Sangeeta Ratnakara too mentions Gaudiya and Mahua spoke of Gaudiya music between 8th and 12th centuries, reaching new heights in the court of King Lakshmana Sena.

Texts like Geetorchandrodaya, Charyapadas, Gita Gopvindam, Ujjala Neelani, Govinda Lilamrita, Rasamanjari, Sangeeta Sara Samgraha and others were referred to, as substantiation of her claim of Gauda Desa having had a rich tradition of both music and dance, with a variety of instruments — string, wind and percussion also listed. Visuals included terracotta sculptures of Nataraj with the veena, Ardhanariswar and sculptured figures of dancers performing on earthern pots.

Mahua’s dance ‘revival’ or the recreation visualised by her has drawn upon texts and also prevailing performing art traditions of the area – particularly the music from Bengal’s Keertan singing. Her well trained students began with Ganesh Vandana set to raga Misra Bilawaland Jhaptal. Alapchari (inspired by several alapchari-s in Narahari Chakravarti’s text) set to raga Bhopali was in Roopak tala in a six plus six arithmetic. Namakhali Nritta inspired by devotees who even today offer worship to Siva and Kali had a Vishnu segment to it too in the Dasavatar. Set to music in Suddha Bangal, Dashpahadi, it reassembled late Odissi Guru’s Sabda/swara/patha approach).

Mahua Mukherjee

Gita Govinda (both Orissa and Bengal claiming Jayadeva as son of the soil), Ashtapadi “Vadasiyadi kinchitapi” in Ashta tala (Vasi ashta tala inspired by Keertan Gurus like Braj Rakheldas) was followed by Dasha Mahavidya (many more manifestations of Devi and Lakshmi in Gaudiya myths) in the Ramprasadi Sham Sangeet style.

To expect any description of musical evolution in a dance form recently visualised would be unrealistic.

Tastefully designed costumes, aesthetic backdrop, elegant Kathak dancers with a delightfully regal bearing, and a competent crew of musicians made Aditi Mangaldas’ ‘Unchartered Seas’ entertaining even when it did not always succeed in communicating the message of the journey of life proceeding through unpredictable tomorrows in the eternal quest for that something one rarely finds. Can the mind exist in stillness, the only state where truth reveals itself?

A mystic theme, it has possibilities that Aditi tries to explore. Her choreography took the audience through various scenes, the long corridor of life seen through just one raga Bageshri. The intriguing beginning had silence with dark stage and just faces lamp-lit. Then Samirullah Khan’s alap almost assaulted the soundscape with its loudness. What was needed was a whisper of an alap, gradually assuming its full blown contours. Meera’s “Darshan jo pyase” was a metaphor for the search and not dedicated to Krishna, for the work forbears from mentioning what or who man yearns for. “Ramaiya mainto sare Ranga Rate” had Aditi first and then the troupe dancing joyously with various Kathak tukras woven into the musical line. The dancers wove through passages of thaat, gat, Paran, tukras, alternately soft and full of verve suggesting the varied nature of the terrain of life’s search – at times smooth and peaceful like “the dew drop falling upon a leaf in a dream” and at others tossed by the winds of passion and obstacles, its flames enough to burn even wind and sky. After all the travails of search come the words of poet Kabir, who says “Apna Khoje .Khoje Na Para” (Search within, not outside for that is where truth lies). The music of “Na Dhin Dhin Na” bells was well used. One could elaborate on this without music.

Aditi uses interpretative imagery very sparingly. The work pertains mostly to abstract dance suggesting ideas. Excellent dancers adept at both improvised and structured dance could not be faulted on quality- particularly the female dancers. But the innumerable chakkars and footwork passages became repetitive virtuosity. Every time one felt the work had ended, it seemed to start all over again. And the “no fixed points” in life seemed to be carried too far, with even the singer and percussionists constantly switching from one side of the stage to the other.

With no raised platform on one side, sitting on the floor adjusting mikes took away from the neatness of presentation. And the work on the whole needs editing. Aditi’s sudden emoting with English words jarred, as a“Rasa Bhang” sticking out like a sore thumb in this Hindustani frame. Light, fire and smoke effects are loved by audiences. But they should not be carried to the point of seeming gimmicky. Samirullah Khan sings melodiously though in a few places like the start, he can be softer. Yogesh Gangani and Mahaveer Gangani on tabla and Pakhawaj gave commendable support.

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