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 e-mail: khokar1960@gmail.com Anahat: A heart's journey Photos: Rahul Naag February 21, 2025 On Valentine's, it is amazing that very few classical dancers thought of heart. Art is hidden in the very spelling of he-art! Most were busy with basant / spring (matters of heart, eh?), some more busy cleansing their bodies and souls by taking a holy dip in the Sangam! Only one dancer of Delhi, Rashmi Singh nee Khanna took to heart the themes of love, loss, acceptance and happiness. In dance, one often talks of nine emotions - the Navarasa - but this offering Anahat, was about a series of "carefully crafted pieces that resonate with the emotions of existence, the weight of expectations, and the eternal quest for truth and love."  Neha Khanna First there were refreshing paintings by Neha Khanna at the entrance, then there were dance pieces that had the language of Bharatanatyam with a new touch. Neha Khanna looks like a babe in woods and her theme of paintings is essentially about Nature - inside out. Plants and trees; birds and bees make it an atrium. Her art flowered in those frames. She beamed with pride and innocence of a fresher out on a picnic on a rock! The rock solid family gathering - an essentially Punjabi audience - who, with the Jains and merchant community of Delhi, actually helped establish Delhi, post partition of India, was mesmerized. Punjabi folks must have a common blood group - Be positive! So, they were there in their Sunday best (Punjabi Sunday starts early on Saturday nights!): BMWs, biwis shining like Christmas trees and bawarchis of Moet's no less, feeding the insatiable Punjabi stomachs with makhani everything - daal, paneer, paranthas even moong halwa fulla makhan! This dinner must be the one most had before going home and having a proper chicken tandoori one! The fare on stage was equally eclectic. One did wonder if the gains of doing Bharatanatyam for decades were sacrificed in a search for something new but seeing audience reactions and even chief guests (Dr. Sachchidanand Joshi, the head of IGNCA, who made a valid point that this "middle young India was the catchment area for future of arts" and Kiran Segal, senior Bharatanatyam and Odissi artiste who encouraged such interpolations of forms) loved it means ennui with classical dance in capital has set in. No more mere fusion but beyond form, Dr Joshi also mentioned.  Kalyani Kala Mandir Rashmi is a senior student of guru Kalyani Shekhar whose uncle was the famous vidwan Dandayudhapani Pillai who trained Vyjayanthimala and sang for M.K. Saroja-ma. He was a first generation city-smart guru, who moved to Madras long before anyone else had. He stuttered in real life and stammered while talking normally but once on stage, he recited jatis (mnemonic syllables) like no one else. Rashmi comes from that tutelage so her dance showed agility, flexibility and elan. Starting with a sure and steady "Bo Shambho" penned by Dayanand Saraswati, sung by Delhi's best male voice G. Elangovan to the flute of his brother Raghuraman, the opening item was in total polarity with what followed: ghazal, geet, feet of Flamenco meeting Kathak in Bharatanatyam steps!  Rashmi Singh Next, the popular ghazal "Salona sa sajan hai aur main hoon" from the hit album Meraj-e-ghazal in which lyrics were by Shabih Abbas, originally sung by Lata Mangeshkar and Ghulam Ali. It was layered depiction even if the fan of Bharatanatyam costume looked bit out of place! Dancers need to know what's balance between tradition and modernity. Rashmi Singh has both the brains and beauty to carry any form out and having specialised in Bharatanatyam for her lifetime - consciously 40+ years now - any attempt at ANYTHING else, even if for novelty, must be done with care. Even revisiting the piece with a modern twist, joined by the exceptionally talented dancer and choreographer, Subhasish Dey. Vocals by Sumana Banerjee, with music production by Anirudh Choudhry enhanced the scale and scope of this production, which was a tribute to the enduring magic of love. Next, the pang of separation. Even in modern times when relationships are transient if not a transaction, to evoke Kalahantarita Naayika, drawn from Bhanudatta's Rasamanjari, the next offering was set to raag Desh (resonates with leaving homeland? Or home turf). It portrays the heroine's inner conflict, torn between the cherished memories of her love and the desolate reality of her solitude. Titled 'Zulmi Saiyyaan,' this choreography brings her turmoil and longing to life. The costumes were inspired by the miniature Basholi paintings. The vocal was by Monali Thakur and music composed by Prasanna Shekar. Voice over by Saumya ushered in the despair. Rashmi Singh and sakhis with shining tresses didn't look so much in distress as much out to impress, which they did. The whole evening was a pull between past and present, tradition and modernity. That's where India actually stands today. "They", written in 2021 by Ridhima Khanna, daughter of Rashmi and Anshuman Khanna, after the loss of her maternal grandfather was brought to life poignantly by Subhasish and Rashmi. The poem beautifully captures the essence of two souls coming to terms with the close of their shared journey.  Rashmi Singh, Subhasish Dey Dedicated to the cherished memory of Rashmi's father, her father-in-law, and her guru—three extraordinary individuals she lost within three consecutive years - this performance pays homage to them and human bonds. That Rashmi Singh's body is agile and can jump and bend and leap and keep pace at her age shows the health benefits of Indian classical dance. All them folks wasting money on gyms and trainers, start learning a rigorous classical form (save Manipuri!) and your body will be tuned for life. My mother was 92 and could walk without support, knee or hip replacements and Bharatanatyam be thanked for it. Ditto many others of that generation. Why are we here on earth? What's our inspiration, perspiration, aspiration? Is action more important than being? Rashmi next used the doha that implores to look within. Rashmi is trying to reach out, especially a non classical dance oriented audience to come to partake of Indian traditional lores, myths, culture. Vocals by Sumana Banerjee and music production by Anirudh Choudhury, this reflective piece, Naa main dharmi naa hi adharmi, brought a sense of questioning before the concluding Kathak meets Tap Dance in Bharatanatyam costume! It dragged in portions but brought various levels of students under her tutelage, together. A fashionista Neha Mittal compered the evening well. All seemed to be fulfilled. The feast of dance provided was tasty. Most went home happy and fulfilled. PS: the venue - NCUI hall with lush seats and ample parking space, extra foyer for exhibition and dining space, is a hidden gem in South Delhi, bang opposite Siri Asiad. More dancers should use it in Delhi as it saves commute. Rashmi Singh found a hidden gem of a hall and got all there.  Critic, connoisseur, historian, author, artivist, archivist, administrator and more - editor, columnist and mentor Ashish Khokar remains true to his muse. More on attendance-india.com Responses * Ashish Khokar’s insightful dance review goes beyond mere technical critique. He masterfully weaves in cultural observations, providing a fascinating glimpse into the vibrant tapestry of Delhi’s society. His description of “biwis looking like Xmas trees” symbolizes the exuberant Punjabi culture prevalent in Delhi. This imagery, coupled with the reference to the “babe in the woods,” highlights the innocence and vulnerability often associated with young painters. Khokar’s keen eye for detail and his ability to connect dance with broader cultural trends, make his review not just a critique of the performance, but a valuable commentary on contemporary India. For those interested in understanding the nuances of Indian culture, his observations offer a unique and enriching perspective. - Vandana (Mauritius) (Feb 23, 2025) * Namaste. The uniqueness of Khokarji's column is the unmissable fluidity in depicting the art forms in such a captivating manner tinged with evident humour. I am sure the blend is not only a connoisseurs delight but also resonates with novices like me attempting earnestly to comprehend various art forms we Indians are blessed with. Yes, Indian society is staring at a transition oscillating between tradition and modernity. What lies ahead of us then? Only the time will reveal. Till then, let's keep looking out for Khokarji's unbridled endeavours at spreading the diverse Indian art forms reach wide and far. - MV Krishna (Feb 22, 2025) * Thank you so much for this detailed critique. Your eye for detail is praiseworthy. Really appreciate how you have included every performer, musician, chief guest, guest, compere, photographer, even departed souls along with the proceedings of the entire evening in the most captivating way. Thank you for keeping my identity as Rashmi Singh because that is from where it all began! - Rashmi Singh (Feb 21, 2025) Post your comments Please provide your name and email id when you use the Anonymous/blog profile to post a comment. All appropriate comments posted with name and email id in the blog will also be featured in the site. |
