The Krishna metaphor

Sometimes reporting raw off-stage moments can be exciting. The setting for the informal interaction and photo session appears like a performance theatre. Young, colourfully attired dancers engage in lively conversation, research-scholars elucidate various texts, organisers walk around briskly, huge spotlights are being set up, a floor to ceiling painting forms an enchanting backdrop, even as piping hot filter coffee is being served. Margot Fonteyn, one of the greatest ballet dancers, aptly remarked, “The world of dance is a charmed place, some people like to inhabit it, others like to behold it; either way it is rewarding.”

And Natyarangam, the dance wing of Narada Gana Sabha, for the past 20 years has been offering dancers opportunities that are creatively rewarding.

Its annual dance fest, more than being a significant platform, is a well-thought-out presentation that focuses on a different theme each year. It takes the artists beyond the technique for an intellectual and emotional engagement with the art.

‘Krishna Bharatham’ is the connecting link at the week-long 2016 extravaganza. Krishna, the adorable child, the mischievous lad, the enchanting lover, the trusted friend, the upholder of dharma and above all the Ultimate Preceptor will grace the stage each evening through verses, bhava and movements. Dancers in pairs will explore the physical beauty and deeper philosophy of Krishna’s avatars as described in the timeless works of poets and composers such as Periyazhwar, Andal, Nammazhwar Narayana Tirtha, Leela Sukhar, Jayadeva, Oothukadu Venkata Kavi, the saint singers of Dasa parampara and Narayana Bhattathiri.

“Yes, Krishna is the most common hero in dance productions. There lies the challenge — of understanding him better to bring newness to the approach. With the help of our resource person, Girija Ramaswamy, we explored Narayana Tirtha’s lyrics with a clear artistic purpose of unveiling the finer nuances. We realised the thoughts expressed were actually simple that needed to be conveyed in a straightforward manner,” says Anjana Anand, as her dancing partner Girish Madhu nods in agreement.

Though there’s a single connecting theme, the diverse performing styles lend an interesting edge to the event. “Besides, the systematic approach of probing the technique, studying texts, analysing their content and translating them into dance and the exchange among participating artists and scholars has been a great learning experience,” points out Medha Hari, who will receive the Vasanthalakshmi-Narasimhachari Endownment Award for Talent Promotion.

“In the process of searching for Oothukadu Venkata Kavi’s songs, not often portrayed by dancers, we got the chance to go through his amazing range of work,” explains Bhavajan Kumar, who will share the stage with Medha.

Radhika Vairavelavan and Uttiya Barua see this festival as a wonderful meeting point of music, literature and dance. “It’s nice to go through it early on in your performing career to recognise elements that make up a good dance production; how they should be seamlessly integrated to complement each other.”

As a Bengali it wasn’t easy for Uttiya to comprehend classical Tamil texts. “It required immense effort but it was worthwhile. In the process, I reached out to my art breaking the language and culture barriers,” he smiles.

Eloquent duo Swetha Prachande and Apoorva Jayaraman have been intrigued by ‘Sree Krishna Karnamritham’, Leela Sukhar’s work in Sanskrit. “He is so imaginative that he conceives unique conversational situations, for instance, Krishna speaking to Rama. Even little Krishna’s retorts to complaints about his stealing butter are fascinating. We just couldn’t resist using the interesting exchange between Krishna and Radha when he comes knocking at her door. ‘Who is it,’ she asks. ‘Madhava’, says Krishna. ‘Oh, welcome Spring’ (Madhava means spring), she replies’,” say the two, who feel it wasn’t easy to choose from the vast material available.

“Such initiatives are crucial for young artists. They teach you to balance training, technique and thought process. It brings out the maturity to interpret and come up with distinctive portrayals.”

Resource persons Sudha Seshayyan and Kausalya Sivakumar, who have also been part of the fest’s earlier editions, see it as a mutual learning exercise.

“Though we guide them in accessing works suitable to their theme, the interactions open up new dimensions in our research and understanding of these ancient texts,” says Sudha. “Over the years, I have learnt how to identify what can and cannot be choreographed as a dance piece,” she adds.

“It is an event that bridges the gender and generational gap,” says Kausalya.

“More importantly, it allows young dancers to capture the spirit of dance through their own imageries and in a collaborative ambience.”

This edition’s theme, ‘Krishna Bharatham’

will be staged at Sadguru Gnanananda Hall.

N. Gopalaswami, former Chief Election Commissioner

and Chairman, The Kalakshetra

Foundation, is the chief guest at the inauguration today at 5.30 p.m. Senior Bharatanatyam artist Saroja Vaidyanathan, mridangam

artist M. Balachandar and senior

dancer K. Praveen Kumar

will be honoured with titles.

The schedule

Aug 12: Dancers Radhika Vairavelavan and Uttiya Barua; resource person Dr. Sudha Seshayyan; theme: Azhwars.

Aug 13: Dancers B.K. Shafeekudeen and Shabana; resource person Dr. Pappu Venugopala rao; theme – Gita Govindam.

Aug 14: Shweta Prachande and Apoorva Jayaraman; resource person Kausalya Sivakumar; theme – Krishna Karnamrutham

Aug 15: Kirti Ramgopal aand Jyotsna Jagannathan; resource person R.K. Shriramkumar; theme – Dasa Parampara.

Aug 16: Dancers Anjana Anand and Girish Madhu; resource person Girija Ramaswamy; theme – Krishna Leela Tarangini.

Aug 17: Dancers Medha Hari and Bhavajan Kumaar; resource person Chitravina N. Ravikiran; theme – Oothukadu Venkata kavi.

Aug 18: Dancers Shijith Nambiar and Parvathy; resource person Damal Ramakrishnan; theme – Narayaneeyam.

Though there’s a single connecting theme, the diverse performing styles lend an interesting edge to the event.