The story is simple yet dramatic in appeal. The strong narrative acts as a perfect foil to the poignant message that it seeks to convey. It reflects on the human predicament of how in a moment of weakness, the vulnerable mind succumbs to the SATAN of temptation only to loss its most precious gift – PEACE. Its moral is time-less & even more relevant in today’s day an age.
While the form is rooted in Indian ethos particularly in movement & music, the original script appears in Latin. To bridge this diversity in form & content has been the most challenging exercise of this production. With the presentation rooted in Indian ethos, particularly in movement & music – Sanskrit seemed most appropriate to express the narrative. Extensive research lead to verses from the Hindu scriptures with identical reference to the story as it appears in the Bible. These verses from the Rig-Veda & Upanishads have been selected & used as the ‘Voice of God’ to unfold the story. For the first time, Vedic verses have been used to narrate a Biblical theme.
The music for the production is also a first- time attempt to blend Indian Carnatic with Western Symphony & is the highlight of the production as the entire narrative is unfolded through a strong musical score.
Most importantly, the production highlights the similarities in thought & philosophy of two very distinct religions – Hinduism & Christianity
Vedic verses interpret Christian thought & philosophy only to reiterate the fact that :
“Truth is Absolute expressed in words of many hues”.
Choreographer’s Note:
Mythological tales & lore have always been an integral part of the cultural expression of any ethnic race – Indian, Oriental, or Greek. Reflecting on a unique world-view & philosophy, their representation in the art & culture has helped give each civilization a special cultural identity on the world map. It is not surprising then that Gods, Goddesses & celestial beings come alive in the dance & music traditions that are poignant expressions of the religio-philosophical thoughts ranging from simple truths to the most profound philosophy.
Myths & legends are steeped in wisdom & an innate understanding of life & its purpose. Bringing to light human strength & weakness through the imagery of super-human characters, they have continued to inspire & influence the human mind for generations to come. Through the sheer mystical & magical power of the myth, a process of introspection on life & its values is initiated.
However merely reproducing a story in song & movement has never been my goal. But more importantly, seeking its relevance to our lives today. A productions such as this, is an attempt at bringing the world of mythology into the realm of the modern mind. That we are able to connect to its subtle meaning & seek its relevance in our lives is the greatest challenge of all! The whole creative process is to be able to decode the message the parable aims to convey. It then remains etched in our memories ever fresh & ageless!!
The story of Genesis ends with Adam & Eve being banished from the garden of Eden after having succumbed to Satan’s temptation to eat the “wisdom fruit’ … however our story continues to the present times! The central idea of being driven out of Paradise leads to the search for the ultimate abode of peace…. This provides a very vital link between the past & the present . Infact the predicament of the modern man is no different from that of Adam & Eve. Driven by the ‘Satan of Desire’, he seems to be in a restless frenzy seeking peace in the world outside. Only the realization that his paradise lies within himself opens up the path of TRUTH & BLISS and leads him to his abode of peace – his true SELF.
Attempting something outside of the traditional framework of content, has only strenghtened my conviction that Indian Dance with its rich & exhaustive vocabulary & grammar is a language complete in itself. It meant not only crossing the barriers of language & locality but also finding an appropriate way of translating the idea. One of the most enjoyable surprises of working on KATHA SRISHTI was how easily & seamlessly the story fitted into the traditional framework of the classical dance idiom in terms of style, content & setting. This versatility & adaptability of its technique to express themes & characters alien to the Indian sensibility has been a great revelation!
In the process of its adaptation, music was the key factor, as the entire narrative had to be unfolded through it. A strong Indian score with shades of Western symphony create a poignant effect essential to the development of the mood & the dramatic action. Next was its presentation on stage for which costumes had to be worked on. For the main characters the traditional Bharata Natyam costume were modified to suit the theme & characters. It required a great deal of innovative ideas & imagination to create costumes especially for Adam & Eve! For the scene of the creation of the Universe, the group was dressed in the colors of the 5 elements (Panch Tatva) as the Universe essentially manifests through them.
The whole exercise brings to light the fact that classical systems of music & dance are not rigid systems incapable of adapting to themes outside the Indian context. The stigma that classical art is too stylized for an audience not well-versed in its grammar is an out-dated notion. Infact the essence of their flexibility lies in the aesthetic principles & core values that underline all Indian art-forms. The synthesis of the traditional idiom & modern technology brings to the presentation a visual appeal that leaves no one untouched…….cutting across all barriers of language, religion & culture.
ABOUT THE CHOREOGRAPHER :
Amongst the younger generation of dancers, Prakriti combines in her pursuit of the art, a rare blend of an elegant performer, meticulous teacher, imaginative choreographer, accomplished nattuvanaar & a prolific writer. Prakriti holds a Masters Degree in Fine-Arts & is a National Scholar. A senior disciple of rhythm wizard Kalaimamani Talavidwan Shri T.S. Kadhirvelu Pillai, Prakriti specializes in rhythmic choreography & nattuvangam (the art of playing the cymbals). She is also trained under Padmashri Guru Adyar K. Lakshman, an internationally acclaimed teacher & choreographer. Her meticulous training under both these stalwarts helped her evolve into a mature artiste with a highly creative mind & sensitivity. Her versatility also finds expression in her passion for an equally challenging & dynamically contrasting dance-form Mohini Attam. She has been pursuing it over the last 6 years under the guidance of Guru Udyogamandala Vikraman in Mumbai & Dr. Neena Prasad at Tiruvananthapuram.Brilliant technique, coupled with a dignified stage-presence & natural grace are the hallmark of her dance, while aesthetic taste & penchant for perfection lend an ethereal quality to her choreographic work. Her choreographic productions have won her high critical acclaim for innovative interpretation of themes & aesthetically sleek presentations. She has along with her dance repertory “NRTYAMANDALA Dance Ensemble” performed at all major dance festivals such as the Natyanjali Festival, Chidambaram, Uday Shankar Dance Festival, Kolkata, Konark Dance & Music Festival, Konark etc. Her workshops & insights on 'the aesthetics & mathematics of rhythm' have been widely appreciated & she has been invited by prestigious institutes across the country to share her work with serious students of dance, which includes the world-renowned KALAKSHETRA College of Fine Arts, Chennai. In 2007, she has been awarded the prestigious ‘Senior fellowship’ by the Ministry of Culture, Govt. of India for her research work on “Cross-rhythm Choreography & Nattuvangam”. Carrying forth her guru's legacy, she has been zealously training students for over two decades at Shiladhish Art & research Institute hoping to create a next generation of committed artistes.
ABOUT THE TROUPE :
The Dance Company-Nrtyamandala Dance Ensemble is headed by Prakriti Bhaskar, as Artistic-Director & Choreographer. The ensemble consists of a repertory of professional dancers & technical staff.
The dance productions are both traditional & experimental set within the frame-work of the classical idiom. They explore the language of Indian Classical dance & music in the contemporary context so as to be able to connect to the modern mind-set.
Acclaimed for their innovative interpretation of themes & aesthetically sleek presentation, the productions are a fine synthesis of traditional art & modern technology that include digitally recorded sound track, a commentary in English, computerized lightings & effective set designs & costumes.
The productions are thus stepped in Indian ethos yet refreshing modern in their presentation. They are geared towards creating a larger appreciative audience for the classical arts.
The ensemble has performed at major dance -festivals across the country & at prestigious corporate events, conference & cultural evenings hosted for special delegates & guests.
Essentially created for an audience not familiar with the classical idiom, the productions offer a glimpse of the rich & varied artistic traditions. Over the years, it has perpetuated & propagated Indian cultural heritage amongst the young modern generation by creating an appreciative audience for the arts.
Amongst the younger generation of dancers, Prakriti combines in her pursuit of the art, a rare blend of an elegant performer, meticulous teacher, imaginative choreographer, accomplished nattuvanaar & a prolific writer.
