In his characterisation across painting, performance and literature, Krishna ceases to be a singular being, assuming the overarching proportions of a metaphor. He can be a fallible lover, a deity beyond reproach or the average boy next door. In a double bill performance this evening, Odissi dancer Shubhada Varadkar and Kathak exponent Shama Bhate leverage these understandings to arrive at two productions that thrust Krishna into the limelight.
God of love
For her production, Madhuram , performed with her students from Mumbai, Shubhada Varadkar delves into Sanskrit and Marathi literature. She uses poetry from the medieval period to substantiate her exploration of Krishna as a symbol of eternal love. The 12th century Marathi saint-poet Dnyaneshwar features prominently in Varadkar’s recital. While Dnyaneshwar is known for his commentary on the Bhagavad Gita, he also wrote a series of ‘virani’ compositions, highlighting the pain of separation suffered by lovers. “Dnyaneshwar expressed sakhi bhava in these compositions, mesmerised by Krishna’s beauty. We end our interpretation with Krishna in his Vitthala aspect,” says Varadkar, when discussing how the poem is built around the sakhi’s relationship to Krishna, their correspondence being based on the premise of Radha’s love for Krishna.
Varadkar also dances the ashtapadi (poem), sakhi he kesi mathanamudaram, from Jayadeva’s 12th century epic Gita Govinda. In the poem, Radha enters a world of fantasy as she begs her friend to bring Krishna to her. She recalls her first meeting with Krishna – a slow, pleasurable introduction to love-making in the forest – fraught with danger but ultimately a fulfilling experience. I
n her delirium, it is unclear whether Radha is recounting a memory or a dream. The allegorical nature of the experience allows for an elaboration of thought in the choreography, embellishing Radha’s narrative with nuances that allow for the construction of a story with specific detail. Varadkar’s rendition of the piece has been choreographed by her guru, Kelucharan Mohapatra.
Guiding force
While Varadkar uses poetry over the centuries to emphasise on Krishna as a giver and receiver of love, Shama Bhate finds that myths around Krishna are mirrored by contemporary issues and concerns. In her production, Krishna – The Liberator, Bhate finds that it is important to think of Krishna as more than a deity. “Krishna is a central figure in Indian classical dance. We tell different stories about him but usually stop by narrating what happened. But why did these incidents happen? By delving into the ‘why’, I bring a contemporary angle to my work,” says Bhate.
For instance, Bhate narrates the story of Krishna fighting the serpent Kaliya, using a composition by the Hindustani vocalist Dinkar Kaikini. Then, adding a second layer to the story, she links it to the present condition of the river Yamuna, where Krishna’s defeat of Kaliya is an act of restoring environmental harmony. Bhate goes on to reinterpret several popular myths in this manner. Thus, Krishna stealing butter is an act of reclaiming local produce from the exploitative practices of the king Kamsa, while his mischievous encounters with the gopis as they bathe turn into lessons on casting away the material aspects of life as they seek the ultimate truth.
In another piece from Bhate’s performance, Krishna’s use of the Govardhan Jill to shelter the villagers from the incessant rains calls blind faith into question. Previously, the villagers have worshipped Indra for the rains that give them a healthy crop. Krishna points out to them that the Govardhan Hill is the source of their sustainable ecosystem, with its green cover and the shelter it provides from harsh weather conditions. When an angry Indra pelts the village with storms, Krishna balances the hill on his little finger, holding it up to protect the villagers and animals from the fierce rains. In doing so, Bhate reads a questioning of practices that aren’t necessarily backed by logic, and the villagers’ eventual liberation from an orthodox mindset.
Madhuram and Krishna – The Liberator will be performed at Experimental Theatre, NCPA today at 7 p.m.; more details at bookmyshow.com
The author is a dancer and writer
