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 Centenary celebrations of legendary dancer Amala Shankar - Nita Vidyarthi e-mail: nitavidyarthi@gmail.com Photos courtesy: Mamata Shankar Dance Company September 20, 2019 It was a great occasion of fulfillment, happiness and rejoicing at the packed Rabindra Sadan, Kolkata. Padma Bhushan, Tagore Fellow of the Sangeet Natak Akademi and Banga Bibhushan of the Government of West Bengal, Amala Shankar, the exquisitely poised dancer and wife of Uday Shankar, turned 100 on June 27th this year. Her final stage appearance was in '92 in 'Sita Swayamvar' when she had the audience spellbound once again as the grand, royal Raja Janaka. The centenary of the living legend who is in perfect health, was celebrated by Mamata Shankar Dance Company (MSDC) in a very dignified two day festival (June 29 and 30, 2019), with choreographies by her daughter Mamata Shankar, daughter-in-law Tanusree Shankar and guest artistes led by the renowned dancer-choreographer Santosh Nair's contemporary dance company Sadhya. With his inimitable articulation, son-in-law Chandradoy Ghosh introduced the festival by elucidating the mode of teaching by Uday Shankar at Almora, a brief account of their landmark productions and the fairy-tale journey of the magnificent dancer of international repute, a girl from a village in Jessore, now in Bangladesh. A sophisticated and delightfully polished group production 'Almora' by the well-trained dancers of MSDC, offered as a tribute and choreographed by Mamata, opened the performances. It was based on her imagination of the way her father used to conduct classes in his institution at Uday Shankar India Culture Centre at Almora. The path of 'walking to dance' to create the new form of dance shown by him was eventually followed by his disciples and thus propagated "The New Age Dance"- the unique Uday Shankar Style. 'Almora' incorporated different movements like small clustered formations, slow, circular elegant walks, which gradually concluded with serenity to salutation through 'Namaskar.' The fine coordination and excellent training of the dancers remained as a hallmark of the company and many in the audience already familiar with the style, responded with nostalgia and joy.  The Child 'Arpan,' the second group offering, was an ovation and homage to Amala Shankar by members of Tanusree Shankar Dance Company. Dedicated dancers, both male and female clad in orange attire, offered an internalized presentation with clarity, displaying the theme with synchronized and neat body movements accompanying the soul-stirring melody of Ananda Shankar's music and the chanting of "Yetraiva yetraiva, tatraiva tatraiva taba swarupam." The refrain of the stotra reverberated in the large auditorium. 'The Child' is Rabindranath Tagore's only poem written originally in English. An earlier production, Tanusree Shankar presented it in a fine lyrical dance presentation with the choreographic brilliance of her father-in-law's style. Very minor alterations have been made to the original choreographed piece and new dancers trained, but the very appeal, essence and freshness have moved in a powerful way during the years. The poem is about the turmoil and difficulty of man's journey from darkness of ignorance and desperation of life to the light of knowledge. It is only a fragile hope and faith, that seems inadequate, that takes him along. Yet this faith carries him to enlightenment and the newness of life represented by the child, full of innocence and simplicity. Tanusree's interpretation depicts a flowing, spiritual, rhythmic journey of man through the ages, ultimately to the freedom of enlightenment and self-realization. There was a quality of grandeur and tragic solemnity in the movements, athletic feats which the choreographer has struck structurally with a special style of her own. Schubert's heart-rendering "Ave Maria" sung by Sukanya Ghosh and Kamaleshwar Mukherjee's Bengali transcreation "Hey Tatinini sama" sung by Lopamudra Mitra, music composed and orchestrated by Debajyoti Misra and recitation in Victor Banerjee's voice made for a rewarding presentation. The dances stood out as Tanusree had done away with any sets or props.  Mamata Shankar as Sabari 'Sabari' by Mamata Shankar Dance Company, based on the famous episode of Ramayana, had been premiered earlier but the spectacular and captivating theatrical piece embellished with the Uday Shankar style with inputs by Mamata Shankar had the same intensity and impact. It was a vibrant production, with a cohesive melodious rapport in choreography of Mamata Shankar and brilliant innovative inputs in terms of dance, theatre, set design, costumes and spectacular lights (by Ratul Shankar), with splashes of colour and elevating performance. It was a delight to watch it again. The first part portraying the village of Sabari and her childhood, till she leaves it, is a celebration and stunning colourful imagery of the tribal village. Incorporation of folk dances, Indian classical, with a hint of strong contemporary moves and synthesis of Uday Shankar dance styles, brilliantly coloured costumes, details of simple joyous village life punctuated with celebrations of wedding preparations, all meticulously presented, was indeed a happy experience. It was a privilege to watch Mamata Shankar, a marvellous dancer as well as a renowned and sensitive actor as the aged, fragile, devoted Sabari who brought out her pathos, eagerness and hope of meeting Lord Rama with a meld of intensity and refinement. Every ember in her movement till the final "atma nivedana", when her soul merges with the lord was the aged Sabari! Ratul Shankar, also a well-known musician, at this point created a captivating theatrical imagery of "meeting of the soul of Sabari" with his light projections.  The Mystical Forest The festival concluded with a spectacular meaningful production 'The Mystical Forest' exploring life within the forest by Sadhya under the direction of contemporary dancer Santosh Nair. The choreography draws from the Mayurbhanj Chhau with strong grounded movements and delightful jumps, twists of the torso blending it seamlessly with stretched contemporary movements where the spark of physical theatre experience creativity and pulsating union of movements, sound and throbbing music of Upamanyu Bhanot, versatility of the choreographer and incredible energy and fitness of the dancers. Use of masks and appropriate costumes with earthy and natural colours enhanced the various activities, emotions, rituals and relationships of the inhabitants of the forest and communicated the message of not disturbing them in their natural habitat. The production was a showcase of artistry, ability, creativity, concern and empathy. Dr. Nita Vidyarthi is a veteran critic of performing arts and writes on dance, music and theatre in leading publications. |
