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 Swayam Prakasha Kirana - Kasturika Mishra e-mail: kasturikafeministpoetry@gmail.com Photos: Subrangshu Chakravarty June 8, 2025 'Swayam Prakasha Kirana' was presented by Sudip Chakraborty and Nirvana Arts Foundation on May 30, 2025 at Stein auditorium, Delhi.  There is a fine balance between possessing creative energy and diluting yourself into a creative space that you have never experienced before. A suave English speaking Kathak dancer collaborates with a gifted singer Joydeep and then together they create a magical space rooted in Indian dance and music. Every other day we lament that the next generation is far removed from their reality and following western culture. Dasha Mahavidya text interpreted by Sudip Chakraborty went on a quest of self while exploring and questioning the Devi Mahatmya and the tantric goddesses. The esoteric Ma Kali was venerated in a sequence with moralistic backdrop paintings from the ancient devi temples. The performance opened to the dancers oiling their hair with cymbals notes and kalash (religious pot) on head chanting Om Namo Bhagavate Vasudeva. Dancers lit the prayer arena corners while Sudip extolled the stage marking the austere beginning to the ritualistic pooja. They enter the temple of the goddess where she is standing on a dead body, wearing the garland of severed heads with a protruding tongue.  Facing the fierce eerie vision of the naked goddess, Sudip posed the question, who am I? The group went about in rhythmic footwork of 1 to 10, the growing restlessness of soul to self-realization. Tava Tattwam set to alapchari in raag Chandrakauns by Joydeep raised the crescendo of the mix media stage work. The whole production however suffers being overshadowed by a series of raag being used for the ten goddesses and dancers merely acting as props to the sloka. The heady concoction of superb collaboration between the composer and the choreographer displayed the heavy rootedness of Indian dance and music. In Sudip's favor worked the use of props like ardha chandra (crescent moon) hair pins, white sequin overcoats with black ensemble worn underneath. The profuse use of red color as a metaphor in tattoos, smeared over the palms and forehead accentuated the obnoxious and grotesque undertone of all tantric suppositions. Sudip while deliberating on the text, cleverly managed the grim reality that accrue to our self-inflicted sadness and advancing serendipity when we find our peace with the divine. The red garland on black robe, lilting diyas in pitch dark spots captured the monolithic stillness of our union with the divine. The sequence of tongue protruding goddess drinking drops of dripping blood of sacrificial animal reminded one of the savage reality of tantric tradition. Sudip used actual mudras from Abhinaya Darpana in one of the slokas. The ragamalika, namely few raags Bhairavi, Rageswari, Natbhairav mostly using the late night hours/sandhi raags denoted that in the "Brahma muhurt" the awakened soul reaches its zenith while the whole world sleeps. Witnessing the alaaps and least of pure Kathak portions, one wondered without the music what would have been choreographed at all. The production was an amalgamated musical dance drama and less a pure dance presentation. But then a GenZ Indian dancer can only muster the courage to dabble in modern themes in dance narratives.  Arghaditya Kar for art works, minimal costumes by Susmita and all the young disciples of Sudip Chakraborty Dance Company namely Anika, Anunay, Suyana, Lavanya, Harshita, Pavit, Rizwana all deserve a pat on the back. The days are near when this young brigade will pull out the candle in the dark.  @Kasturika Mishra is a poet, writer, and dance critic. |
