Utpal K Banerjee attended a festival celebrating dance at IHC that depicted Shiva in Chhau and featured Egyptian belly dance and flamenco
Piggy-backing on World Dance Day festivities in 2013, Spandan organised an evening called ‘World Dance: Celebrating the Human Spirit’ recently at IHC. There were eight genres showcased in the space of a single evening. And the utmost brevity that was de rigueur for dancers, made them prune the chosen forms to their bare essence. An interesting outcome was the clear visibility of otherwise little-noticed transitions from instants of frozen frames, to explosions of kinetic energy in locomotion — and vice versa — drawing the spectators’ admiration.
As part of choreographic kinesthetics, this was one net gain. Another remarkable feature was the choice of two completely different forms that as many as three danseuses performed: involving total change of attire, supporting music and other paraphernalia.
The given theme of lord Shiva was a great leveller, as performers strived to outdo each other. Thus Nikoline Nikoleski from Croatia, who runs a dance institute at post-graduate level in her own country, began with chiselled Bharatanatyam on the well-known hymn, Shambho Shambho Shiva Shambho Swayambho, with well-executed karanas from Natya Shastra and Abhinaya Darpana.
The best of the evening was next. Shiva depicted in Chhau from Odisha’s Seraikela. Carolina Prada of Columbia is a disciple of Janmejay Saibabu. In her, the guru has found a fine receptacle for this upcoming semi-classical form.
The music came from the minimalist drones of a big drum and bamboo-clarinet, which provided wonderful support for elaborating Shiva: now in his virulently destructive phase, in a mellowed nurturing mood and in self-absorbed tandava style, romping the world.
Nitisha Nanda who learnt Odissi first from the deceased guru Harekrishna Behera and then from others for 15 years, executed Adi Shankacharya’s Shiva Ashtakam pleasantly, using tandava again. Odissi’s vigorous movements pale in comparison to the virility of the preceding martial art of Chhau. And that was for all to see in two tandavas.
Next was Quincy Kendell Charles from Trinidad and Tobago who took the floor for Kathakptoda, tukra and dhamar. Having been groomed by Jaykishen Maharaj, his tatkars and chakradhars bore the stamp of the lucknow gharana and suited his tall male frame.
Paola Santa Cruz from Peru brought an altogether new flavour in her latin American flamenco. After a solo, she used companions to the accompanying clapping for her tango and launched into vigorous boleros: “Very typical of the Amazon and Andies,” according to her. Then appeared Nikoline again, in a ballet outfit this time. She launched a ballet piece that was complete with extensions and balances of the classical style. “I’ve chosen an excerpt form the French opera lakme in ballet form, with music by leo ledov,” she explained. Carolina came back with another dancer — with long waiving robes — bringing a flavour of the sea-breeze and undulating palms. The other item of her folk dance was partnering a male performer in a mock-fight, with both of them holding sticks.
The surprise of the evening was petite Nitisha, now in a bare-all shimmering costume. She let loose high-voltage pelvic undulations par excellence for her belly dancing. Nitisha said, “There are three prevailing forms of belly dance: Egyptian Oriental, American Tribal and Turkish: different from each other. I chose the Egyptian Oriental for this evening, though I learnt all three over five and a half years. I am instructor in a gypsy school of dance where I teach the forms.”
On her preference between Odissi and belly dancing, she was clear, “I like both equally, though I learnt Odissi longer.” As for where she draws the lakshman Rekha in aesthetics between the two, she commented, “I do draw a line and am clear on aesthetics involved. I started a fusion experiment between the two genres that I would love the audience to see!”