What is dance but movements in space strung into rhythmic patterns boiling down to complex mathematical play of numbers and digits, evoking rasa when merged seamlessly with satvik bhava. Numbers, it seems, make the very being of dance, living, breathing, and inspiring.
Exploring on similar lines, Aditi Mangaldas’ Drishtikon Dance Foundation presented “Dance Drishtikon: 10x10”, exploring the crucial symbiotic relationship between dance and the numbers. A welcome effort of presenting both traditional and contemporary pieces based on Kathak, the evening was a haven for those seeking and working towards expanding boundaries.
With each succeeding composition based on a particular number, the performance began with “Breath”, as number one is the first non-zero natural number. An abstract piece linked to the concept of “swas”, danced by Gauri Diwakar, the music was that of a mukt alap over flute played by Rohit Prasanna. The absence of percussion bols added to the gravitas of this piece. Not only did the dancer create the imagery akin to a seed germinating into a full blown tree, but the ever flickering lights by Govind Yadav added to the tapestry of “swas”, ending ever so suddenly.
Number two was “kal”. With intelligent use of word, as “kal” in Hindi can mean both yesterday and tomorrow, danced by Rashmi Uppal and Dheerendra Tiwari, the piece explored the concept of “kal” — today’s dreams or yesterday’s shadows. Interjected with incoherent commentaries by the dancers, the piece was based on a beautiful original tarana by Ashwini Bhide Deshpande.
A performance from “Dance Drishtikon: 10x10”
Third was ‘Triveni’, a musical piece by musicians Ashish Gangani, Faraz Ahmed and Mohit Gangani evoking the three rivers Ganga, Jamuna and Saraswati. With tabla, pakhawaj, and vocals ending on a crescendo on “Sapteshwari Bhagwati Gange”, the effort was well conceived. Choreographed by another senior disciple of Mangaldas, Rachna Yadav and Anindita Acharjee, “Charavali”, presented at number four, had subtle imageries of a half lit moon on a dark night.
Five elements
Probing through the concept of “pancha bhoota”, the fifth performance was “Elements” choreographed by Manoj Sonagra in a contemporary taste. Earth, water, fire, air and ether constitute the Prana Shakti of all beings and any disturbance in the status quo can result in ultimate explosion was the thought. Although the rendition was visually eye-catching and the dancers looked sleek to the T, the abstractedness of it all eluded the viewer of what the choreographer wanted to convey. Using plastic chairs as their prop, number six “Seeing The Unseen” further elaborated the concept of the sixth sense, existing way beyond the reach of usual physical senses. Choreographed by Minhaz Khan, the piece was akin to tap dance, with absence of any musical accompaniments.
“Om Suryaya Namah” was incanted all throughout “Suryashva” in the seventh performance. A piece dedicated to the sun deity and in praise of his seven horses, choreographed by Sunny Shishodiya and mentored by Pt. Birju Maharaj, this piece in Kathak can easily be called the star performer of the evening with its lightning like quality. Number eight was “Nirantar – The Infinite”. Again a piece in Kathak by Anjana Kumari, mentored by Pt. Rajendra Gangani, was beautifully structured. Eight when seen horizontally denotes infinite. Thus traversing through this concept the dancers pirouetted in a seemingly endless haze bringing out the allegory of the infinite.
The fun of being new, of being “Nau”, was brought out in number nine by Gauri Diwakar’s choreography in a composition based all throughout on a tala of nine matras, keeping in line with the theme. The flared costumes done by the choreographer too was an added layer to the vision. And finally coming to the end piece at number ten, “Dashavtar” choreographed by Gaurav Bhatti was rendered with a contemporary sensibility but all so subtly and aesthetically. The piece began with Diwakar sitting on stage, taking off her ghungroos, conversing with the audience, addressing Vishnu and saying only you were there before time and only you will remain after all disintegrates in the pralaya. With subdued alliterations of the 10 Avataras from Matsya to Buddha, Gauri Diwakar emerged as Kalki who saw it all and in the end liberated the mundane souls.
Mentored and curated by Aditi Mangaldas, the concept of 10x10 showcased her company’s in-house talent vividly and her work as a Guru and mentor, giving the freedom and stage to her disciples to showcase their personal creativity rather than being bogged down by Guru’s vision only, is worth applauding.
