The LalitArpan Festival's 23rd edition showcased the captivating dance drama "Stree Spandan," highlighting the emotional journeys of iconic female figures from the Mahabharata, performed by renowned artists, writes SAKSHI PRIYA
The 23rd edition of the LalitArpan Festival captivated audiences at the Stein Auditorium in New Delhi with an enchanting display of classical Indian dance. Founded by the illustrious Padmashri Guru Shovana Narayan, along with Dr. Jyotsna Suri and the late Ustad Shafaat Ahmed Khan, the festival continues to serve as a prestigious platform for both established and emerging talents in the performing arts.
This year's highlight was the evocative dance drama “Stree Spandan: Why I Did What I Did,” which delved into the profound emotional journeys of three iconic female characters from the Mahabharata: Kunti, Draupadi, and Gandhari. The performances by Shovana Narayan, Gopika Varma, and Sharon Lowen mesmerised the audience, with each dancer showcasing her unique style while remaining deeply connected to the narrative.
Shovana Narayan, embodying Kunti through Kathak, delivered a performance filled with grace and strength. Her intricate footwork and expressive gestures resonated with the audience, allowing them to feel the weight of Kunti's struggles and her resilience. The fluidity of her movements conveyed a timeless story, drawing viewers into her emotional world.
In contrast, Gopika Varma's portrayal of Draupadi through Mohiniyattam exuded elegance and power. Varma’s ability to blend delicate movements with fierce expression highlighted Draupadi’s dignity in the face of adversity, capturing the essence of her character.
Sharon Lowen, performing as Gandhari through Odissi, brought poignant depth to the production. Her heartfelt exploration of a mother’s grief was reflected in every movement, transforming the stage into a space of profound vulnerability.
Together, they created a powerful synergy, seamlessly transitioning between different styles while highlighting themes of resilience and emotional complexity. As the final curtain fell, it was clear that “Stree Spandan” had left a lasting impact, reinforcing the importance of these timeless narratives in connecting audiences to their cultural roots.
In Conversation with Shovana Narayan
How did your journey into classical dance begin and what initially drew you to Kathak?
I was initiated into dance when I was barely three years old by my mother. The two motivating factors for my mother were (a) that she had been brought up in a family where all the children had to be given training in all forms of learning, which included scholastics, knowledge of our ancient texts and also the fine arts and (b) in order to channelise my excessive energy. As for me, the moment I entered this world, I subconsciously knew that I had found my life, my soul.
Who were your biggest influences and mentors in shaping your artistic career?
My mother played a key role in my development. Even though my schooling was throughout Convent schools, it was at home that I received a solid grounding in knowledge of Sanskrit and of our ancient Sanskrit texts and Hindi literature. After my initiation into Kathak under Guru Sadhona Bose (the well-known dancer-actress of the 40s and 50s) at Calcutta, I received further training from Guru Kundanlal Sisodia (at Bombay) and Guru Pt. Birju Maharaj at Delhi. Guidance to delve deep into the spirit of dance was nurtured within me by my mother and by Smt. Naina Devi, the well-known thumri singer.
Over the years, how has your understanding and interpretation of Kathak evolved?
Since I was introduced to Kathak, Kathak became my medium to express myself. It was the medium where I was myself. Since none of us live in a vacuum, we therefore are impacted in some way or the other by external surroundings and herein, it was Kathak that has been my outlet for my own inner churning of thoughts. Also, as one evolves with time and with my innate curiosity, I found myself trying to find more about the origins of Kathak, the manner in which it evolved and lived through two and half millennium, a period that saw several socio-political changes.
Classical dance, especially in modern times, is often seen as a way to preserve culture. What role do you think Kathak Plays in contemporary Indian society?
Ever since the first mention of the Kathak community in the Mahabharata and in the 4th century BC / 3rd century BC Prakrit inscription, this community of devotional dancers have seen and lived through various ages, each of which saw contemporariness of their times. This river of Kathak has seen turbulent phases in its over two and half thousand years of recorded journey, yet this art form breathes, lives and carries with it the ethos and spirit of the philosophy reflected in our ‘shastras’ and in our literature, the cultural habits and practices of this sub-continent, which is still so relevant in the present times that we are living in.
What initiatives have you undertaken to promote classical dance among the younger generation and why do you believe this is important?
I love to share whatever knowledge I have. And hence whatever I have gathered in this journey of mine through experience or through my research, I share with all through teaching, mentoring young minds, discussions, publications et al. It is important to be aware of our heritage. For example, until recently, people were unaware that Kathak is a still living temple tradition. Such knowledge helps emotionally in giving a person a sense of praxis.
How do you view the future of Kathak in the face of rapidly changing cultural trends and technology?
Kathak has always evolved with time in its presentation and in the use of technology. The technology of today is being used very effectively and judiciously by serious well-grounded classical artists. It is this ability to adapt to changing times and ethos that has been the strength of our classical art forms that have survived several millennium.
What advice would you give to young dancers who wish to pursue a career in classical dance?
If one follows the heart, then the voyage should be taken with care, with clarity, with passion and dedication. The creative spirit and the ability to delve deep into a subject only adds to the sense of inner joy.