First published in New Straits Times, Sunday People
29 March 2008
Transcendental performance
MAX KOH
TFA dancers in the Pallavi
Geetha in Sakti He Keshi Madhana Mudharan
DANSEUSE Geetha Shankaran-Lam was the undoubtedly star in Transcendance, the latest performance by The Temple of Fine Arts, which explores the themes of the sensuous self and the sublime spirit.
The performance that ran for three nights at Panggung Bandaraya in Kuala Lumpur, also marked the premiere of new and original works by odissi guru Durga Charan Ranbir, disciple of the late great guru Deba Prasad Das and featured music by guru Ramahari Das.
The new repertoire was a direct outcome from the Odissi Yatra (sacred journey) undertaken by Geetha and her students last December to various parts of India.
The result of that journey was the dance — Geetha’s offering to the gods, gurus and the audience.
It offered a repertoire that explored how dance, music, lyrics, rhythm, emotion and drama brought about the psycho-physical condition conducive for such an experience of transcendence.
Under the artistic direction of Geetha, these works are presented as solo and group pieces in Transcendance.
The night began with Mangalacaran, the opening dance performed by dancers to invoke the blessings of divinity. In this interpretation, the dancers personified the swan (hamsa) which is regarded as the bird of wisdom and freedom.
The dancers arched their backs and gestured like the bird. Against the resplendent backdrop of giant lotus flowers onstage; they looked absolutely graceful.
Geetha offered Sakhi He Keshi Madhana Mudharan. The work is based on Jeyadeva’s Gita Govinda which is sung daily during worship at the Puri Jagannath temple in Orissa.
The dance was about the romance between Krishna and Radha, and the twists and turns of the relationship — desire and despair, separation and union, fantasy and reality. It was set with the composer’s obvious purpose of seeking transcendence through his praise.
Her interpretation of the song showcased her mastery of the abhinay (the expressive form through hand gestures, facial expressions and body movements).
I was mesmerised by her poetic brilliance and lush erotic imaginary.
Overall, the dancers — comprising mainly students of TFA — were competent in the Pallavi where the melody is elaborated through eye movements, beautiful body postures and intricate footwork. It was based on the Keervani raag, a typical South Indian scale that evokes feeling of elegance and joy. Its basic melody uplifted the mood as the dancers explored the creative possibilities in pure dance (nritta).
But the apex of the night’s show was Geetha’s take on the Pallavi. This time it was original choreography by guru Kelucharan Mohapatra based on the Arabhi raag, and reinterpreted by odissi dancer Parveen Nair and Geetha herself.
She exhibited poise and a grace that could only have come from her years of dance experience.
For those who missed Transcendance, you can catch it on their Youtube profile in the following link: http://uk.youtube.com/user/TFAvideo
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