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 Akhyat-Akhyana: Narratives of the Unheard by Divya Ravi - Satish Suri e-mail: satishism@gmail.com Photos: Prof K.S.Krishnamurthy December 10, 2024 Divya Ravi's thematic presentation titled 'Akhyat-Akhyana,' held at the Bangalore International Centre on November 19th, was a captivating exploration of storytelling, nritta and evocative expressions that not only entertained but also illuminated the powerful narratives of remarkable women poets. Each poet, through her words and life, shattered the barriers of social constraints, bravely pursuing their callings. Akhyat-Akhyana is a groundbreaking work that serves as an experiential exploration of rare multilingual poetry authored by women poets throughout Indian history, inspired by Akhyana, a traditional musical theatre form from Gujarat and Rajasthan, where Manbhatts perform storytelling in a captivating manner, often accompanied by a pot as a central prop. This innovative project, conceived and choreographed by Divya Ravi, seamlessly wove together the rich tradition of Bharatanatyam with live musical accompaniment, creating a tapestry of dance, music, and spoken word that celebrated the voices of women across timelines and geographies. The story of Savitribai Phule, recognized as India's first woman educator, is a powerful narrative of resilience and determination. Her journey began with her marriage, which marked the first step towards her pursuit of knowledge. Despite facing relentless challenges, including calumny, scorn, and verbal abuse, Savitribai bravely called upon girls to pursue education, becoming a pioneering figure in the movement for women's rights in India. Savitribai's poetic expressions catalyzed her activism, fuelling her resolve to break free from societal shackles. One of her more evocative verses, "Saraswaticha durbaaraat shiksan ghenes jaau chala" inspired many to join her in the quest for education and empowerment. These poignant verses were artfully tuned by Sharan Subramanian and interspersed into a jathiswaram in Hamsadhwani, a pure dance composition without lyrics that emphasized rhythm and footwork and served as a perfect backdrop for Phule's verses, allowing the dancer to embody the essence of her message through movement. As the dancer performed, the rhythmic intricacies of the jathiswaram aligned harmoniously with the powerful call for education, creating a dynamic interplay between music, dance, and spoken word.  The narrative shifted southward to explore the enchanting tale of Andal, a revered figure in Indian folklore. Using the framework of the Ragamalika adi tala varnam "Aatkolla vendum aiyyane" penned by G Vijayaraghavan and tuned by Hariprasad Kaniyal, Divya Ravi chose to incorporate Nachiyar Thirumozhi verses as spoken word sancharis to explore Andal's emotional landscape through her poetry. The verses explored: Ulangunda vilangani pol: This verse vividly describes the intensity of Andal's devotion, comparing it to a worm infesting a wood apple, symbolizing how Narayana has taken over her being. Koodidu koodale: Here, Andal seeks the favour of the game of koodal to prophesy her union with her Lord, reflecting her deep yearning and hope. Vinneela melaapu: This verse paints a poignant picture of Andal's sorrow as she questions the dark clouds, wondering if they have brought her Lord, and expressing her anguish over her lost womanhood. Kallavizh poonganai thodutthu kondu: In this verse, Andal invokes Manmatha to use a honey drenched flower as an arrow to unite her with her beloved, in her passionate plea for union. By integrating these emotionally charged verses into the choreography, the performance became a dynamic exploration of Andal's emotions. The intricate rhythms and melodic variations of the varnam served as the perfect backdrop for the spoken word sancharis, allowing the audience to engage with both the poetic and performative aspects of Andal's expression. The interplay of movement and music further amplified the emotional resonance of Andal's words. Each sanchari transitioned seamlessly into the musical framework, creating a holistic experience that honoured the depth of Andal's devotion. The imagery used by the artiste evoked not only the intimacy of Andal's relationship with Narayana but also resonated with Andal's pure and unabashed love. The Therigatha stands as the oldest surviving anthology of feminist poetry in the Indian subcontinent, originating in the 6th century BCE. This remarkable collection comprises 73 poems written in the pre-modern Pali language, capturing the voices and experiences of women, particularly Buddhist nuns, during a time when their narratives were often marginalized. Among the notable figures in this anthology is Amrapali, a Nagarvadhu (courtesan) of Vaishali, who transcended her life of luxury and indulgence to embrace the path of a Buddhist nun. In her poignant poem, she reflects on the inevitability of ageing, recounting her youthful abundance and the pleasures of her past while accepting the fragile decrepitude that accompanies the passage of time. Through her verses, Amrapali articulates a deep understanding of the transient nature of life, inviting readers to contemplate the beauty and pain of ageing. In embracing the teachings of the Buddha, she not only redefined her own life but also illuminated a path for others to follow - a path that leads beyond the superficial allure of wealth toward the profound depths of spiritual understanding. The piece titled "Sacchavaadi vachanam ananyatha," composed by Sharan Subramanian, provided a contemporary interpretation of Amrapali's themes, alternating between the ragas Shuddha Saranga and Sumanesha Ranjini. This musical composition enhanced the emotional resonance of Amrapali's reflections, allowing the audience to engage with her insights on ageing, identity, and acceptance. The alternating ragas created an auditory landscape that mirrored the complexities of her experiences. Divya Ravi enhanced the depth of Amrapali's journey by emphasizing the internal struggles and revelations that accompany her transformation. The composition's themes of self-realization and the impermanence of worldly pleasures reverberated with Amrapali's experiences, making her story not just a personal narrative but a universal exploration of the quest for meaning. In parallel to the exploration of Amrapali's themes, there exists a broader discourse that interrogates anthropocentrism - the belief that human beings are the central or most significant entities in the universe. This philosophical inquiry challenges the notion of human superiority and encourages a more inclusive understanding of existence that acknowledges the interconnectedness of all living beings. In a profound dialogue, Akka Mahadevi questions Chenna Mallikarjuna about the complexities of life and the nature of human perception. She reflects on the paradox of existence, asking why, despite the omnipresence of nature, we selectively choose to acknowledge its manifestations. This inquiry leads her to contemplate the contrasting emotions surrounding life and death. Akka Mahadevi draws a poignant comparison between the hunter who rejoices in a bountiful hunt while simultaneously mourning the loss of his child. This duality highlights a troubling aspect of human nature: the ability to celebrate one form of life while grieving another. She challenges the audience to consider why we often fail to mourn the extinction of animals with the same intensity as we mourn the loss of our children. Akka Mahadevi's dialogue with Chenna Mallikarjuna serves as a powerful reminder of the complexities of life, loss, and our perceptions of value. Her inquiries challenge us to reflect on our emotional responses and the societal constructs that shape them. In doing so, she not only honours the interconnectedness of all life but also calls for a deeper, more inclusive compassion that recognizes the significance of every being's existence. The exposition through the verse "Jalagaranobba jalava hokku shodisi" set in raga Kannada in tisra gati and set to music by Sharan Subramanian, depicted the dancer's lively engagement ensuring that each element of the story was explored thoroughly, revealing layers of meaning that might otherwise remain hidden.  The tale of Janabai, a young woman given away to the household of Namadeva, unfolds as a poignant narrative of devotion, resilience, and the transcendent power of companionship. From an early age, Janabai found herself navigating the demands of household chores, her days filled with the exhaustion that comes from labour. Yet, amidst the toil, she was comforted by the presence of Vittala, a divine figure who embodied friendship and solace. In the bustling household, Janabai took on the myriad responsibilities expected of her, from cooking to cleaning, embodying the spirit of dedication and hard work. Each exhausting day was softened by the companionship of Vittala, who stood by her side - not just as an ethereal presence but as a beloved friend and co-worker. Together, they prepared rotis, a staple of their meals, and shared moments that echoed the warmth of family life. Vittala was not merely a deity; he was a comforting figure, akin to a mother who lovingly gave Janabai a head bath after a long day. However, there were moments when Vittala, feeling the weight of her constant attention, would attempt to slip away from her side. In these instances, Janabai would cleverly invoke the spirit of devotion by requesting Namadeva to sing an Abhang - a devotional song that celebrates the divine. The moment the music filled the air, Vittala had no choice but to dance, his movements a divine expression of joy and surrender. In watching him, Janabai - and all who beheld the dance - were granted a glimpse of transcendence, a moment where the mundane transformed into the sacred. Divya Ravi skillfully wove a vibrant tapestry of sound and emotion through the kirtan "Naache Panduranga," transforming the space into a realm of celebration and devotion. With each note and rhythm, the performance captured the essence of jubilance guiding the audience through various emotional landscapes without losing the thread of joy. The melody's enchantment held sway until the last sequence, leaving an indelible mark on the hearts of all who witnessed it. 'Akhyat-Akhyana' was more than just a performance; it was a celebration of resilience, creativity, and the relentless pursuit of one's dreams in the face of societal challenges. This presentation reminded the audience of the importance of women's empowerment and the profound impact that storytelling and art can have in shaping narratives and inspiring future generations. Divya Ravi's ability to weave together dance and poetry created an enchanting atmosphere that echoed deeply, leaving attendees reflecting on the transformative power of women's voices in history. Sharan Subramanian's vocals brought the poetry to life, infusing each line with emotion and passion. His singing not only narrated the stories but also evoked the feelings embedded within the verses, allowing the audience to connect deeply with the experiences of the women poets. The off beats on the mridangam by Srihari Rangaswamy enhanced the overall rhythm and energy of the piece. Prasanna Kumar's rhythmic pulses on the nattuvangam provided a structured yet flexible framework for the choreography. His expertise in maintaining the tempo and rhythm allowed the dancer to express freely while staying in sync with the musical composition. The refrain of the flute played by Vivek Krishna added a lyrical quality that pervaded through the performance, providing a melodic thread that connected the various poetic expressions. Finally, the spoken word segments delivered by Shwetha Krishna Rao added an intimate and personal touch to the performance. Her voice resonated with the audience, bridging the gap between the poetic text and the physical expression of dance, making the narratives even more relatable and impactful.  Bangalore based Satish Suri is an avid dance rasika besides being a life member of the Music and Arts Society. |
