Conceptualised and choreographed by Sharmishtha Mukherjee, Forest of Bliss presented the co-existence of various cultures in Varanasi. By UK Banerjee
Mark Twain, the renowned Indophile, said of Varanasi in 1897, “Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together.” How does one write an epigram on this iconic city and possibly give it a witty endingIJ
Believed to have been founded by the trident of Shiva, the city was visited by the Pandavas in their quest for the great lord. It is one of the seven holy cities which can provide moksha (liberation). Archaeology suggests a settlement around Varanasi in the Ganga valley that began in the 11th-12th century BC, placing it among the world’s oldest inhabited cities, even counting the Biblical Jerusalem, Jericho and Nazareth. So where does history take us from thereIJ The Buddha founded his faith around 528 BC, giving his first sermon: Turning the Wheel of law, at nearby Saranath. The celebrated Chinese traveller Hiuen Tsang visited the city around 635 AD and attested that it was a centre of religious and artistic activities. The city’s religious importance grew in the eighth century, when Adi Shankara established the worship of Shiva as the official sect of Varanasi, thus coming the full circle. Varanasi retained its focus for intellectuals and theologians during the middle ages, which enhanced its reputation as a centre of religion and education. Major figures of Bhakti movement were born in Varanasi, including Kabir and Ravidas.
Eminent scholars and preachers visited the city from across India and South Asia, including the 1507 trip by Guru Nanak that paved his way in founding Sikhism. Despite three centuries of Muslim occupation, it remained a city of great musicians, dancers and scholars.
Forest of Bliss: Banaras, presented recently by Dr Ariyakuri Musical Foundation from Chennai, was a multi-hued bouquet of six compositions aiming to capture varied nuances of Banaras. Conceptualised and choreographed by the Kathak danseuse, Sharmishtha Mukherjee, it began befittingly with the City of Shiva, where dancers paid their obeisance to the lord in Vishvanatha Ashtakam chant by Adi Shankara and Shiva Tandava ascribed to Ravana. The Ghats followed, showing the hustle and bustle of the bathing scenes, kite-flying and ritual lamp-floating on the waters. Eternal Melodies were masterly, abhinaya-based solos by Sharmishtha on Banaras thumris: Rasaka Bhare Tore Nayna… and Chalata Moke Dhata Roke Na Chhero Banwari…The fourth segment was depicting Banaras’ busiest road criss-crossing, Gawdaulia Chowk, with petite dancers indulging in fun and frolic, laughter and banters: amidst the all-round medley of men, traffic and animals.
Manikarnka is Banaras’ river-bank concourse of crematoria that never sleeps. As the penultimate piece, this created a somber, black-clad dance-scenario: with three hymns from Bhagavad Gita and Kabir’s unforgettable bhajan in raga Bhairavi: Ud Ja Re Hans Akela… The finale — with all six dancers and Sharmishtha together — was the zero point: showing the spirituality of Benares. Although Jainism and Sikhism were left out, Islam, Hinduism and Buddhism were seen converging into Banaras as a major confluence of thought-streams, alongside a Persian verse, translated from Mirza Ghalib: Khuda Banaras Ki Asmat Salamat Rakhe…
Sharmishtha — who did a commendable job despite her official pre-occupations as daughter and hostess of President of India — explained, “Forest of Bliss is translated from the epithet Anand-van for Benares. Full of chaos and colours, it’s a collage of varied moods and images. I’ve tried to capture some of the impressions that left strong imprints on my mind over my long association with the city.” On choice of facets of the city, she expounded, “It’s a vast subject. Tomes can be — and have been — written on it. I have chosen what has appealed to me most for expression through my medium of dance. I have spent three months on structure, choreography and music. I was lucky to get imaginative video-shots from my cinematographer friend. To be honest, my solo pieces were left till the very end to compose and the very thought gave me jitters.”