Milestone in modern dance

Daksha Sheth's millennium production "BhuKham", is yet another milestone in her tryst with modern dance. As a choreographer, she has blended the traditional with the contemporary, perfected her body language through yoga and drawn heavily from such diverse styles as Mayurbhanj Chau, Kalaripayattu and Mallakhamb.

Since "Summer" (1986), in which she presented Kathak to the accompaniment of a Vivaldi composition, she has been focussing her energies on evolving a new idiom.

The productions of the Daksha Sheth Dance Company have featured in international festivals in England (Vivarta, 1992, '94), Canada (New Directions in Indian Dance Festival, 1993), Germany (International Summer Theatre Festival, Hamburg, 1997), Hongkong (The Hongkong Arts Festival, 1998) and Croatia (Eurokaz Festival, Zagreb, 1999). Her husband, Devissaro's knowledge of Dhrupad, Hindustani baansuri and pakhawaj makes the score for her choreography vibrant.

She presents "BhuKham'' at the Krishna Gana Sabha in Chennai on December 19. The next day, she will speak on "Journey in Dance" at the same venue.

Excerpts from interview with the danger-choreographer:

"BhuKham" has taken your choreography to yet another plane, with aerial performances added to the usual combination of movements with breathtaking effect. Could you explain how the use of this new combine enables you to communicate through dance?

Bridging the contemporary with the traditional has been at the core of my research. Taking into consideration the diverse traditions of the Indian performing arts, I attempt to thematically explore the opposing forces represented in ancient cultures by the "Earth" and "Sky". "BhuKham", the Circus of the Earth and the Sky, explores the new and dynamic physicality. Right from the choice of theme, styles adopted, music and costumes, all are directed towards the discovery of a new dance vocabulary. The word itself is derived from the Vedic terms "Bhu" and "Kham" which represent the Earth and Sky, respectively.

Stylistically, it is a self-energising experience, but can it be said that you have been re-defining the parameters of your dance with each piece that you have added to the repertoire?

Yes. What I seek through "BhuKham'' is a new form, a new dancer, a new physicality and a new audience - the audience of millennium. The creative energies that went into this production have been immense. Each phase of it has been satisfying and enjoyable. Even after it is premiered, the performance keeps evolving. The same show does not go on.

Apart from dance per se, what are the inputs this time that have made it different from your earlier productions?

There is an exciting mix of physicality, a unique approach to staging which will combine computer manipulated sounds and visuals. In my earlier productions, costumes were rather functional, but in "BhuKham" fashion-designer, Wendel Rodericks has handled it.

Decades ago, you trained under the Kathak exponents Kumudini Lakhia and Birju Maharaj. How would you explain the transitions that your dance has undergone over the years?

The exploration has been on ever since I started giving solo performances. It was never born out of any dissatisfaction with the classical dancer's grammar that I moved on to other forms. I have tremendous reverence for the traditional performing forms, and it is my firm belief that the strong foundation in Kathak has helped me to experiment with the form combining the contemporary trends too.

Moving from Kathak to Mayurbhanj Chau, is a detour which is intriguing. How were you drawn to this vigorous form?

I recognised the fact that training in the use of weapons together with agile body movements, called for a very high degree of concentration. This was provided by Chau, particularly the Mayurbhanj school of which Guru Krishna Chandra Naik under whom I trained, was an expert.

In Kerala for the last decade, you have trained in Kalaripayattu and there is a marked presence of the brisk body movements of this martial art form in your productions like "Search for my Tongue" and "Sarpagati".

Considering the fact that I have assimilated from all these, it is only natural that each one of them influences my creativity. The peace and calm I get in Kerala helps me work without any disturbance, on my productions. The very reasons that drew me to Chau drew me to Kalaripayattu.

The Daksha Sheth Dance Company has tapped local talent to bring together performers from other disciplines like theatre, music, martial arts as well as dance. How far has this helped in your creative ventures?

Apart from Devissaro and myself, there are three others - Anil Kumar, Rajesh Raveendran and my daughter Isha Sherwani. Isha is trained in Kalaripayattu, Yoga, Mallakhamb, gymnastics and Kathak. All my creative ideas crystallise through Isha. Anil and Rajesh are trained in dance, and ever since they joined the company, they have undergone intensive training in gymnastics, Kalaripayattu, Yoga and Mallakhamb.

Do you feel the guru-sishya relationship has its importance in the changing scenario?

I have to briefly tell you my own experience with the gurus under whom I trained. When I started training under Kumudini Lakhia at the age of thirteen, it was total surrender to the guru.

The unquestioned faith we have in the teacher must have its result. After that, under Birju Maharaj and Guru Krishna Chandra Naik, the experience has been equally enriching. Therefore, cent per cent commitment to the learning process is a must in my scheme of things.

BHAWANI CHEERATH

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