In the book “Chandralekha, choreographic works, Anigka to Sharira 1985-2003”, edited by Sadanand Menon, the choreographer’s note reads, “Body corporeal and Body conceptual. Body as a path towards a return to vast inner spaces of hidden resources. Areas of pulsating points and contained forces. Sharira is about the profound and invisible female energies that can activate our outer and inner selves. Sharira explores the body as a transformative field for ascending feminine force, to evoke the condition within which the ‘self’ can experience the world. Sharira celebrates the living thing in which sexuality, sensitivity and spirituality co-exist-acknowledging no limit, borders, boundaries.”
First time premiered in March 2001, at the Tata Theatre, NCPA in Mumbai, Sharira choreographed by Chandralekha, her last choreographic work even after 15 years, which I saw November, at India Habitat Centre recently under the aegis of Samanvay – a forum for discussion on inter-related aspects of literature, performing and plastic arts, politics and matters of public interest – cast the same spell as it did then.
Shaji, the martial artist of Kalaripayattu of Kerala, and Tishani Doshi, the yoga practitioner, poet, novelist, and dancer, in their riveting duet to the meditative Dhrupad music by Gundecha Brothers and to the imaginative lighting by Sadanand Menon evoked the feeling of wonder. How Chandralekha has expressed the geometry of the body, the fantastic triangles that emanate from the body from its centre have to be seen to be believed. The female body of Tishani Doshi spread out on the floor gathers momentum in excruciating slow motion to the alap of Dhrupad. One marvels how Tishani raises the leg, entwines with palm of her hand, turning backward, facing the wall on the stage and revolving, turning, facing the audience. Dressed in a black half sari, with a bindi on her forehead, her face does not wear any expression. The yogic pose revealing triangles reiterate that among the dancers, Chandralekha was perhaps the only one, who visualised it in such a superb manner.
When the singing progresses, Shaji with high jump planting himself firmly near Tishani out stretched on the floor, the sequence is breathtaking. Clad in red half dhoti and a black sash round his waist, Shaji’s sculpted body contrasts with Tishani’s fair body and the red and black clothes, the colours of their bodies look visually stunning. Their bodies lying on the floor, with raised legs appear like modern sculptures. As a choreographer Chandralekha astounds us.
Facing each other on the floor, coming together in most intimate position, Shaji lifts Tishani, her legs up and her face down seen between his two legs is such a haunting image. It lingers long in one’s inner eye. Singing enhances the image ‘Jata me Ganga’ goes the refrain, “Surrounded by the swirling waters /A grove of wondrous growth/And dark passages/ In it a secret chamber /Of lustrous gems;/The abode of Primal Energy-/She who knows how to create life from her body./Vibrant and pulsating/ She rises-/ Bird –like/River-like/ Descending on Shiva’s head/Ascending Shakti.”
In Sharira the vocabulary of the body is able to speak outside of any specific and identifiable genre through the principles of stretching, holing, extending. Adding and expanding the intention of the work is the musical accompaniment in Hindustani Dhrupad style by the Gundeha Brothers. With movement and sound following a parallel course intense hypnotic balance and a complete inside outside synergy spiralling through the work like a self-generating double-helix, Sharira with its stark, pared down minimalism, has been hailed as among Chandralekha’s best work.
Revisiting Sharira made me feel that the Indian dance scene has been impoverished by the passing away of Chandralekha. It is fortuitous that Shaji’s and Tishani Doshi’s bodies have amazing memory to recreate the magic of Sharira choreographed by Chandralekha. A most memorable evening.
