For a Kathak-starved cultural hub like Chennai, the ‘Love Songs of a Gypsy Spirit’ presented by Chennai-based Kathak dancer Jigyasa Giri and her students from Devaniya, her dance school, offered something unusual.
The occasion was the finale of Vasanthotsavam 2018, organised by the Saraswathi Educational, Charitable and Cultural Trust, at Kapaleeswarar Temple.
Jigyasa is a disciple of the late Krishna Kumar Dharwar (Benaras gharana) and the late Maya Rao (Lucknow gharana), and has been teaching Kathak for more than nine years in Chennai. ‘Love songs…’ was a musical that combined Mira bhajans, vocal and instrumental interludes, dance and the spoken word in a well-ordered landscape.
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It re-created the story of saint-poet Mira chronologically, depicting her first as a pretty Rajput princess, who sees an idol of Krishna and is enchanted, and following her as she matures into a young woman who is married into a royal family, until she turns into a wandering minstrel who loses herself in Krishna. There were seven Miras in all.
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With a cast of 18 dancers, some of whom were referred to as ‘story makers,’ donning multiple roles, it was a mega production.
The costumes were evocative with flowing Rajasthani bandhini palazzos and lehariya chunaris offsetting the white long kurtas. It was a well-rehearsed show as well, and no dancer fumbled; the many entries and exits were well-timed and smooth.
The dancers’ collective enthusiasm especially at the peak of summer was commendable. Their technique — footwork, carriage and grace — has improved over time and the students have become proficient. The characterisations were convincing, though the somewhat perfunctory treatment and crisp pace of the narrative limited their ‘air’ time. The intent of the production was clearly to be inclusive.
Some scenes stood out, for instance, when the young devotee (Avani Maroo) yearns for a glimpse of Krishna in ‘Pyaare darshana deejo,’ as the married woman declaring her love for the godhead (Shankari S) in ‘Jaago bansiwaale lalna’ and the wandering poet (Ashmini Balakrishnan) in ‘Jo tum todo piya.’
The choice of bhajans was appropriate as in ‘Paga ghungroo bandh’ after Mira becomes a widow and her family tries to kill her (Keerthana Govindarazan). The group sequences in this bhajan were good; more such pieces would have anchored ‘Love Songs..’ as a good Kathak dance drama, rather than just a drama with sporadic dancing.
Small pieces like a kavit when the Krishna idol is given to Mira , or the gat bhav when Mira enjoys the rain, were too few Kathak interjections to count. Avani Giri as a ‘mad-prema diwani’ Mira showed maturity.
The curtain call was aesthetically presented; the younger Miras were Navya Chordia and Riddhi Kharche. The capable Story Makers were: Jahnvi Krishna, Preya Mani, Vasanthi Mani, Priyanka .V, Smriti Jhaver, Ria Kharche, V. Manasa, Sneha Jaisimha, Sanjana Tara and Priya George. Mahima Jain acted as Krishna.
The singers were: Vedanth Bharadwaj, Monali Bala and Jigisha Goswami. Music composition was by Divakar Subramaniam and Monali Bala. Concept, script and direction were by Jigyasa.