Sakhe! Tvam Mam Mitram - O Sakhi you are my friend! This was the soothing refrain echoing in an evening of dance curated by Dr. Usha RK in association with Sangeet Shyamala. Titled “Sakhi - in praise of the friend”, rarely do we give a second thought to subservient characters in a storyline, whilst it is they who often act as a catalyst and take the episodes forward. Sakhi, a very central yet sidelined and invisible character in Indian mythology is not only a friend, confidante and even accomplice to the nayak nayikas but is also a Guru to them. Cajoling, sermonising, and even chastising at times Krishna, the God, himself to meet Radha who is a mortal embodiment of Mahamaya and vice versa. It is the Sakhi which brings the Purusha and Prakriti together making sure the continuum of creation in this universe.
The evening began with a Bharatanatyam recital by Mumbai based dancer Pavitra Krishna Bhat. In his choreography, Sakhi rebukes Krishna of nonchalance towards her. She says, “Krishna! After all that I have done for you and Radha’s unison, you do not even throw a mere glance at me, as if I am invisible?” To this highly offended Manini nayika Krishna tries to coax by uttering, “He manini, krta krtyoham syat mamavhivyakihi: O manini my gratitude to you is of such scale that I rarely can find words to express my gratefulness to you, now, how do I impress you or convince you of my sincerity?” Sculpturesque in his seasoned choreographic approach, Pavitra with dense classicism put across a conversation between a much repentant Krishna and a miffed Sakhi, who at last gives in to the charm of the Lord of the Universe.
A much resplendent Bharatanatyam danseuse Tanya Saxena was next on stage to portray the angst of Sakhi against her own friend Radha, accusing her of abusing their friendship and making everything about herself, not giving a second thought to her Sakhi. Set in Ragam Senchurutti and Misra Chapu taalam, her javali began with an abstract nritta piece, which then melted into Sakhi recounting several thankless incidents Radha had made her go through. With much ease the rasikas enjoyed Tanya’s delectable sancharis of Sakhi telling, “This waist belt I am wearing used to be my finger-ring once. My face, once like a lotus, has now withered. I cannot even wear my bangles anymore for they just slide off my wrist! I walk back and forth between these two, so much so that I have terrible blisters now! She will never let go of her pride; Krishna will never give in to her; and I am the one who gets stuck between all of this!” Interestingly, the dancer chose to not identify with the main heroine as Radha, giving her a hue of a Madhyama and at times even Adhama, making the Sakhi an Uttama nayika at most times, adding to the novelty of choreography in her approach.
Reminiscing a childhood gone by of love, warmth and laughter was Kathak dancer Era Dogra as the final performer of the evening. “We have been close friends from our childhood, sharing all that each received, my clothes and jewels always looked more beautiful when you adorned them and the sweets made at your house were always my favourite. When we grew up, there was nothing more important to me than you. I have given up all for you, my life is a total surrender to you my friend, Tvam Mam Mitram - you are my friend!” Her beautiful composition was written by Gurus Shri Abhimanyu Lal and Vidha Lal and was choreographed with much aesthetic sensibilities by Guru Geetanjali Lal.
The Bharatanatyam compositions were written and composed by Karthik Hebbar, Arjun Bharadwaj and Vinay Datta. And the musicians for this uniquely curated event were Rajat Prasanna on flute, Pavithra Chari on vocals, Akshaya R on natuvangam, Salman Khan on pakhawaj, and Zakir Hussain on tabla.
