“Dreams are without any shackles, where you can have fast-paced fun. You are literally on an exclusive lane with no traffic jams. It varies from person to person,” begins dancer Krithika Subrahmanian who has conceived and scripted an operatic dance titled ‘Swappnam,’ produced by Namaargam Dance Company, Sreshta and Sumanth & Co. Fellow Bharatanatyam dancer Vaibhav Arekar is the co-choreographer.
The script needed music of a kind that would be expressive and guiding, and Krithika says she could not think of anyone other than maestro Ilaiyaraaja. Wary of whether he would accept such a paradigm shift in his professional work, Krithika wanted only a few songs composed by him.
But after listening to the script, Ilaiyaraaja nodded his head and said, “Why just a few songs? I will do the entire music!”
Krithika says that her excitement knew no bounds. And the following 40 days were full of bliss and divinity, as she worked with the maestro. She cherishes those moments she spent with him and simply cannot describe her experience.
The maestro spared some time amidst his busy schedule to talk about ‘Swappnam.’ “Whether it is films or a stage production, music is the same. Though it is not a dance drama, there are enough dramatic sequences.”
This is the first time Ilaiyaraaja has scored music for a dance opera although there are several full-length dance-based movies to his credit.
How different was it working for a dance-based production? He smiles. “In films, we do make a lot of compromises as the prime objective is to take it to the common man. Here too, the idea is the same but Bharatanatyam and classical music are based on certain well-accepted premises called Sastras. We have tread carefully to conform to the rules, be it the production, choreography or the music. Any form of art has to be really classic. I do not subscribe to the view that classic art forms never reach the common man. If executed in the right way, they can be enjoyed by one and all.”
Ilaiyaraaja loves to innovate with rhythm as is evident in his songs. Bharatanatyam offers a lot of scope for this. So what was new in this production? “In the song, ‘Pradeepta Rathnajowla,’ I have set a different talakattu.” He pauses, and taking a cue, Krithika explains, “It is a mix of sankirnam (nine beats) and misram (seven beats). It is a new concept for a dancer to interpret. Choreographing for this was pretty tough as we had to set new jatis. It opened up new dimensions for us.” Ilaiyaraaja adds that they sum up to 16 beats.
Krithika continues. “As we wanted a song with a pan-Indian feel, we requested Raja sir to compose in such a manner that it will not be identified with any particular region or State but the country as a whole. He gave us some high calibre music visualising the script. We had to work overtime to create something that would only enhance his music.”
Sharreth, who has sung ‘Pradeepta,’ shared his thoughts over the phone. “After years of waiting, I first sang for Ilaiyaraaja’s 1000th film ‘Thara Tapattai’. When Raja Sir approved of my singing, I broke down. He then consoled me and presented a Navaratna ring. Ever since, singing for him has felt like a pilgrimage. The way he taught me was an experience of a lifetime.”
Rhythm is inseparable from dance. Ilaiyaraaja’s music always finds a balance between silence and music. His silent intervals too are pregnant with meaning.
“You should never thrust anything in art. Every occurrence has to be natural, including the silent intervals. The ‘half count or three fourths count pauses’ before the commencement of a song are also silent intervals. In my music, the saptaswaras and the silent pauses are coherent, without any aberration.”
Thirty tracks have been recorded for ‘Swappnam’ and of them, nine will be released as a CD by santoor wizard Pt. Shivkumar Sharma on December 28.
The music, according to Krithika, has evolved as a natural process.
Ilaiyaraaja asserts that the music for this production is something that cannot be experienced anywhere in the world!
The maestro adds that he has chosen ragas that seamlessly blend with the sequence, and has included popular songs such as ‘Ayye Metha kadinam’ and ‘Kana Vendamo.’
He has used 18 different types of drums to present ‘Nandichchol’ believed to have been played by Nandikeswarar.
“If I have to describe this whole process with Raja Sir, I can only call it a ‘vision’ that has emanated with radiance from his temple of music,” Krithika Subramanian says with emotion.
Popular Carnatic musicians such as T.V. Gopalakrishnan, Sudha Ragunathan, Rajashree Pathak, Abhishek Raghuram, Vasudha Ravi, Poornima Sathish and Bharath Sundar have lent their voice while instrumental artists including Haridwaramangalam A.K. Palanivel, Embar Kannan, Rajhesh Vaidhya and Palghat Sriram have also contributed.
Karthik Raja is also part of this project.
The tracks were mastered by Sai Shravanam at his studio, Resound India.
As many as 15 artists have been allowed to listen to the tracks and interpret through painting. Their creations will be on show at the hall from December 26.
“That there is an aspect of Siva in every one will be realised at the end of the show,” Krithika says. It is well known that Ilaiyaraaja has an ethereal connection with Annamalaiyar. Krithika too holds Kapaliswarar close to her heart. No wonder Lord Siva is the sootradhari for ‘Swappnam.’
