Spandan by R Sreenivasan was an attempt to introduce youngsters to the treasure of dance forms around them. Utpal K Banerjee reports
In the whole of the 20th century, especially post-Independence, the newly-evolving classical dances went through a remarkable growth-phenomenon. Gurus came up, flourished, and when they went through their natural process of decline, they were able to leave behind competent disciples as dancers most of whom were also skilled choreographers in their own forms. By the turn of the 21st century, there has now been an outcrop of a brand new generation who, besides dancing, seek to innovate as well. The same has been largely true in creative dance domains, where — following Uday Shankar’s trail-blazing efforts — many dancers adopted contemporary styles. Taken together, the number of dancers has seen growth at an exponential order. While this is undoubtedly good for the nation’s dance consciousness, the first casualty has been the lack of platforms for the youth who have to seek their place under the sun alongside the seniors who are still around to take the limelight.
Another, somewhat less expected, aspect has been dancers becoming competitive and mutually ignoring styles other than one’s own. Already, time is woefully short among competing professions in the new technology era and certainly permits little leisure to witness each other’s style. Almost like classical music gharanas of yore — where seclusion was mandatory and getting under other gharanas’ singing style a taboo — both classical and contemporary dancers seldom perform on the same platform. In consequence, the already constricted performance space becomes even more scarce.
Spandan: a celebration of human spirit, organised recently by way of concluding the World Dance Day at the IHC, was such an effort to provide wings to the Gen X for getting an inkling into dance genres around them today. Organised by technocrat and photo artist R Sreenivasan (Sreeni), the programme began with Astha Dixit, the winsome Kathak danseuse (trained under Malti Shyam of lucknow gharana and Harish Gangani of Jaipur gharana), who brought Sufi Ishq (divine love) as a surrender to God: through the charm of Sufi poetry. The first was by Khwaja Ghulam Farid: The beauty of my creator is so bright… choreographed in raga Jhinjhoti, and the second by Bulleh Shah: Tere Ishq Ne Nachaya… centered on the Sufi practice of whirling in surrender to the divine almighty, in raga Hameer.
Next was Anwesha Mahanta, a youthful performer of Sattriya dance, who has already received accolade from art connoisseurs for expressiveness of her abhinaya. Her presentations comprised a Madhavadeva composition from Namghosha, a salutation to Bharatavarsha by the great poet Sankaradeva, and Jaya Jaya Jadukula… a panegyric from the play Kaliya Damana, an Ankiya Nat, by Sankaradeva. Natya Vriksha dance company then presented its seven bright youngsters in a Surdasa Pada, choreographed by Geeta Chandran: Sundar Shyam Sundar Bur leela, Sundar Bolat, Bachan Rasaala… in raga Malika and an exuberant tillana, a Balamurali Krishna composition in raga Brindvani.
Hailing from Colombia, Carolina Prada — guru Janmejoy Sai Babu’s leading disciple in Mayurbhanj Chhau — presented Dandi. Carrying only a pot of water and a thin stick with a bag of food tied at its end, the initiate renounces the world and goes in search for union with the higher self. leah Curtis’ Delhi Dance Theatre, a NY-based dance company, presented Incline Together on how our global lives are moving into being one continuous being that finds the interceptions of shapes and forms, ultimately inclining into one…
The next psychedelic performance was Hip Hop by Furkhan — trained in Popping — a dance form that originated in lA’s West Coast in USA — grooving naturally and giving into music orgiastically. He seemed to be a great audience-favourite. Banjara School of Dance, reputedly India’s largest belly dance school with raqs sharqi as its main focus, appeared in the finale. Their item, influenced by urban and tribal fusion, had an accent of fluidity within geometry.
Set to carefully selected musical scores with a strong feminine pride, the piece led by Meher Malik evoked a new journey of its kind.
Says Sreeni, “The Journey of Infinity is all about discovering the infinite potential within. With love towards performing arts and fine arts, we intend to inspire every youth to push himself in his areas of passion and excel in life. While the accompanying dance photography exhibition with over 30 photographers celebrates that journey of infinity of the dancers who have already made a difference, the dance evening celebrates the young dancers who are on their way to establish themselves in the world of dance.”