For generations, Indian classical dance’s deep-rooted symbolism has been confounding novices. But a little persistence on their part will pay off, as a treasure trove of knowledge is unearthered this evening. Mohiniattam artist Miti Desai and Kathak dancer Pooja Pant will showcase the simplicity and nuances of Indian classical dance through solo recitals, titled Ritu Ranga and Tehreek respectively.
Together, they will depict contemporary experiences in the language of the traditional, and also present a classical repertoire.
Pant’s Kathak rendition, Tehreek (Urdu for movement) oscillates between the past and the present. “As part of the guru-shishya tradition, Kathak has been passed down for generations,” says Pant. “Every student makes changes to their guru ’s work. Tehreek is a combination of my guru’s contribution — signifying the past, and my additions to her work — which is the present.” Pant trained under Rajashree Shirke for 15 years. The performance commences with an invocation to Ganesha (Ganesha Vandana) composed by Pandit Murli Manohar Joshi, after seeking the blessing of a god for the protection of the proscenium stage as prescribed by the ‘Natya Shastra’, the text on performing arts. Through her performance, Pant explores the nritta (pure dance) and abhinaya (expression) of Kathak. This includes the 105-pirouette tukda — a rhythmic technical piece set to a particular taal ( teen taal, a 16-beat cycle) and the Baithaki thumri — a lovelorn song performed in the baithak style which will be performed by Pant herself.
The thumri is strategically placed in Pant’s repertoire. Nevertheless, one must account for the strenuous and tiring physicality that Kathak demands. Pant’s rendition of the Baithaki thumri , if performed well will ascertain her mastery over breath control, for such technical pieces often leave many dancers gasping for air. Additionally, the Baithaki thumri curtails artistic licence. “It’s a difficult aspect to explore,” says Pant. “There is limited space and the dancer only has her face and hands to express.” The aim is to successfully combine melodic emotion and storytelling. “The artist’s mind is focussing on the emotion of the swaras (notes) while the storyteller in the performer is paying attention to the subtext.” Pant will be accompanied by tabla player Ojas Adhiya, vocalist and sarod player Hriday Desai and sarangi player Sandeep Mishra.
When Desai takes the stage, her performance of Ritu Ranga, an expression-laden production, journeys through nature’s different seasons. Conceptualised, choreographed and directed by Desai’s guru, Mandakini Trivedi, the piece uses Radha and Krishna as symbols to narrate evocative tales from nature. For instance, in the sweltering heat of greeshma (summer), Krishna and Radha make merry by playing with water. Then in varsha (monsoon), a melancholic mood sets in with the Abhisarika Nayika — the heroine on a journey to meet her beloved — controlling the narrative. Sharad (autumn) sees the sacred couple uniting under a full moon. Holi is a favourite among dancers when portraying the playfulness between Radha and Krishna. When shisheera (winter) arrives, Desai presents a colourful scenario and finally with vasantha (spring), love blooms and permeates the atmosphere.
It’s little wonder that Desai’s favourite expression is spring and the lyrics by Sanskrit poet and dramatist Kalidasa completely resonate with the dancer. Take for instance, the opening verses of the season which speak of striya sakama: aroused women. “The lyrics are liberating because Kalidasa speaks of women’s sexual desire and acknowledges their sexual expression,” says Desai. “There is no mention of a man for once.” Many traditional choreographies quickly bring to the fore the needs of the male character. Ritu Ranga, Desai believes steers clear from convention and highlights women for a change.
“In order to depict something formless, we create a form to convey our message,” says Desai. “In this case, mythology has given us Radha and Krishna as characters. Since Indian classical arts transcend mere emotions of an individual and have many layers with several interpretations, we arrive at the formless again. Simply put, we complete a circle where we begin with the formless, create a form and then are back to the formless.”
Desai will be supported by vocalists N.N. Sivaprasad and Jayanthi Sundaram Nayak; Maddalam and Edakkya player Kalasree Nambissan; flautist Nandakumar; violinist Narayan Parthasarathy; and light technicians Niranjan Jhadav and Sudeep Modak.
Both performers of the evening are firm believers of the traditional arts adapting to contemporary time. Desai, however, has her personal opinions about how much classical dance can be experimented with.
“Classical dances are designed for introspection and elevation,” she says. “Bollywood, on the other hand is designed for entertainment.” When the two forms merge, both their inherent purposes get diluted.
But with Tehreek and Ritu Ranga , audiences have the opportunity to experience the diverse movement vocabulary of both, Kathak and Mohiniattam.
Tehreek and Ritu Rangawill be staged at the Experimental Theatre, NCPA, Nariman Point. The show will start at 7 p.m. Tickets are priced at Rs. 200 and Rs. 300.
The writer is an intern with The Hindu
