The Ananda Shankar Centre for Performing Arts (ASCPA) mounted their new production “Oikatan” at the Satyajit Ray Auditorium, Rabindranath Tagore Centre, ICCR, Kolkata, after a lapse of time, with financial support from Ministry Of Culture, Government Of India.
A striking medley of eight individual pieces were garlanded with the delicacy and discipline by not only the Shankar technique of new age dance pioneered by Uday Shankar but also other forms set to the brilliant music of Ananda Shankar and other musicians offering a captivating imagery in the language of dance. After the invocation to Lord Ganesha in Ganesh Vandana set to Ananda Shankar’s music composed in cycles of seven and 11 beats, the Centre’s senior dancers captured two different moods of Mother Earth in the next item “Moods of Nature”. Movement ideas and lighting were brought together with the effort of form like deceleration through movement from quick to very slow in the first part depicting earth’s tranquil and serene mood in the form of rivers, forests and breeze. The choreography allowed a relaxed feeling, the flow of dancing becoming more and more bound.
The second part showed earth’s wrathful nature in the form of volcanoes, storms and earthquakes and this stimulated the movement allowing interpretation of the visual and title. “Tranquillity” was the right choice of the following item which melded intensity and grace with delicately choreographed movements perfectly complimented the lyrical, soul-stirring melody evoking a serene mood. Indian and Western instruments combined to produce an effect which was unusual, muted, mysterious yet mesmeric. The dance projected a rich yet subtle experience of peace and calmness.
In keeping with the tradition of the Centre in addressing social issues “Oppression” addressed exploitation, and suppression in society.
The Shankar style does not dismiss the importance to the folk tradition of the country and “Jubilation” was a joyous celebration of the this. An entertaining vibrant number not adhering to any particular region. Choreographed in response to music, “Initiation” evoked tranquillity, religiousness and hope associated with day break.
Freedom of women
Highlighting freedom of women from their oppressed state and forging their destinies was a powerfully choreographed “Amelioration”. Full-bodied physicality, spatial and energetic movements portraying the strength of women being at par with men were juxtaposed with jazz contemporary, African contemporary and Cuban contemporary in a cutting edge performance laced with an excerpt from Caroline Finn’s choreography “Bloom” creating a compelling narrative.
An example of imaginative choreography dealing with the three tangible elements — movement, time and space — was explored in the concluding “Oikatan”, which had music by Ananda Shankar and Eugene Steef. Dancers from different genres and backgrounds united and converged in this collaborative work between Billy Chang of Taiwan and members of Ananda Shankar Centre for Performing Arts (ASCPA) to create a harmonious whole. “Oikatan” is an example of dancers breaking barriers and bonding to work together. The Centre’swell-trained dancers with their good teamwork and understanding did full justice to the themes and choreography.
The concept and choreographic inspiration as well costumes were by Tanusree Shankar.
