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 A Xmas stocking filled with soulful dance and music - Saranya Devan December 27, 2019
Over the past month, I have been attending many dance conferences and performances at various sabhas around Chennai during the festive period of Margazhi. Many of these concerts were on beautiful proscenium art stages or a formalized setting. But whilst I sat cross-legged on the gleaming pine floors of Ratnam's 55-year old house which has links to the TVS family of multinational fame, I could see and feel the gentle thud of tears and sweat that fell from Delhi-based Chandran, just a mere meter away from me, sometimes even closer. The Christmas morning dance treat was hosted by Ratnam under the auspices of the Arangham Studio Series which opens up a space for live art performances that go back to the first staging of the captivating Chitra Sundaram work titled Moham - A Magnificent Obsession, 10 years ago. With The Universal Spirit of Christmas, Chandran attempted to "create an aesthetic moment" by answering the much too often asked question around classical dance these days: What are we really creating when creating a classical art work? Bedecked in a check red and tiger orange costume with just the right length glittering Kasu Mala, a vintage like oddiyanam (belt) and salangai, Chandran started off her performance with a Nirgeet. While the song may have no literal meaning, the movements showcased the rich and varied dance vocabulary. Set to the staccato style of Drupad music, Nirgeet saw Chandran taking complete control of the space with her thunderous stamps on the ground, as if searching for the roots of Bharatanatyam in the Natyashastra. Then followed a soothing composition by Surdas, a lullaby where mother Yashoda puts baby Krishna to sleep on her lap. Chandran's detailed facial expressions brought to life Yashoda, baby Krishna and the very essence of storytelling through dance. Next was a special request from Ratnam, Mogaduchhi, a composition in the very soothing Sahana ragam that was taught to Chandran at the age of about eight by her Guru Swarna Saraswati. Whilst preparing myself to watch the legendary Geeta Chandran live, I came across an archival video of her performing the Mogaduchhi padam in 1993 in Chennai. A quarter century later, the choreography has indeed stayed intact, doing justice to husband Rajiv Chandran's introductory remark that "the flavour remains the same." This mesmerizing item sees a Nayika (heroine) who, despite being married, still professes her love for Krishna. But as bad timing has it, when her husband is to escort her home, she professes her love for Krishna one last time. Chandran's beautiful abhinaya brought out the lovelorn heroine's intense pining - the Nayika compares herself to being a lotus flower and Krishna the sun in the lyrics Banu padhmamu valey dhooramundinadhemo. The grand finale was danced to a song titled Kabir composed by Sudha Raghuraman and must have surely lifted the spirits of everybody in the room. The piece placed importance on the concept that all creativity of life lies within the body and the dance praised the body from head to toe, whilst stressing that the soul that lies within is what matters most and thus is the creator of all happiness. This was to be the perfect ending to a poignant morning headlined by Chandran who is celebrated not only for her deep and composite understanding of the art of Bharatanatyam, but also for her accomplishment as a Carnatic music vocalist. This was clear when her musicians saw it fit to allow Chandran to take charge when she felt like singing on stage - and it came just so naturally to her. In Bharatanatyam there are said to be four types of abhinaya- Angika, Vachika, Sattvika and Aharya. It was my first experience of watching a talented artist perform Vachika Abhinaya - of actually singing and dancing at the same time. When Chandran sang the lullaby as baby Krishna was seated on her lap, there was no telling that this was acting - it was absolutely so real. Post-performance, we were treated to Mor Kali, a very traditional and authentic dish prepared with buttermilk and rice flour. This was complemented with a piping hot Madras Kappi. I spent a few minutes chatting to dance colleagues and those who I have long admired, familiar faces that we only know as Facebook friends. Thank you, Anita akka and Geeta akka, for such a fabulous Christmas present, the memory of which will stay with me forever. It was heartening to hear Ratnam promise that many similar performances will be hosted under the Arangham Studio Series banner in 2020. |
