Productions

“Tridhara”: Collaborative work with Yamini Krishnamurty and Sonal Mansingh for ICCR

To the concept of national collaborative work by Vice President Venkataraman, who himself selected the dancers of three dance styles, the evening “Tridhara” became a reality. Presented by ICCR and the title of the evening was given by Jiwan Pani, the noted Oriya literary figure, the evening featured three renowned dancers of their respective styles – Yamini Krishnamurthy (Bharatanatyam), Sonal Mansingh (Odissi) and Shovana Narayan (Kathak). As the name of the evening suggested, each dancer represented their regions through the life giving river flowing through it namely Cauvery for Bharatanatyam, Narmada/ Mahanadi for Odissi and Ganges for Kathak.

           Presentation: Multi-Style

           Duration: 1 hour

“Meera – The Divine Lover”

What are the obstacles in the path of divinity? Ego, pride, prejudices, or even a certain lack of sincerity…..? Is divinity to be achieved only by donning the robe of the saints!! These questions are sought to be answered through the episodes in the life of Meera, the princess from Rajasthan.

           Presentation: Group presentation

           Duration: 40 minutes

“Thaat Nirupan”

For the first time, the ten “thaats” of Hindustani Classical Music (Bilawal, Marwa, Bhairav, Poorvi, Bhairavi, Todi, Asavari, Kalyan, Khamaj, Kafi ) were utilised to showcase the ten aspects and salient features of “nritta” and “nritya” aspects of Kathak dance (Uthaan, Aamad, Thaat, Tora-Tukra, Lari-Tihai, Gat Nikas, Gat Bhava, Paran, Pirmilu, Tatkar).

           Presentation: Group presentation

           Duration: 40 minutes

“Dhwani-Pratidhwani” – based on footwork only.

This piece continued with the seed sown in 1981 in “Nupoor”. In “DhwaniPratidhwani”, the group choreography accentuated various panorama of ‘tatkar’ through ‘laris’ and ‘tihais’ of various ‘jatis’. As in Nupoor, only the feet were highlighted with lights while the rest of the body were in darkness. To avoid spilling of light and reflection of light on the costume, very daringly a black coloured angarkha was utilised, which till then, was not utilised on stage. The accompanying music was the sombre ‘dhrupad’.

           Presentation: Group presentation

           Duration: 10 minutes

“Kab Aogey Rama”

Continuing the introspective journey, Shovana’s next quest was to study the meaning of the term ‘Ramatwa’. This issue was analysed in the context of various episodes Lord Rama’s life.

           Presentation: Dance ballet (Group composition)

           Duration: 40 minutes

“Dishantar” (ballet on environment degradation & associated social ills)

With several concerts on till hitherto, unexplored realms of Hindi and Sanskrit literature, the ballet “Dishantar” added a new dimension to the milestones of Shovana and her Asavari group. For the first time, the dance ballet in traditional classical Kathak focussed on the issue of environmental degradation through mindless cutting of trees as also decadent socio-economic conditions prevailing in our society, highlighting issues of bonded labour, ills of caste system, subjugation of women. This ballet brought out the environmentalist and social crusader within Shovana.

           Presentation: Dance ballet (Group composition)

           Duration: 1 hour

“Das Mädchen mit den Schwefelhölzern” in Austria

In the year 1982 began Shovana Narayan’s journey of International collaborations. One of Vienna’s eminent music composer-teacher Prof Otto Faerber composed evocative music for the moving story of Hans Christian Anderson of a little maiden with the matchstick. Shovana performed this piece marrying traditional Kathak ‘abhinaya’ to delineate the story set to Western Classical Music to a rapt audience. A Western classical singer sang the German text “mir ist so kalt habe keinen plätzchen” while the musical score was played by a pianist.

           Presentation: Solo

           Duration: 8 minutes

Ankhiyan Hari Darsan ki Pyaasi (of Sant Surdas)

This devotional verse reflects the yearning of the soul, symbolised by man for union with the universal soul, the Almighty. There is longing for intimacy and closeness to God and an endeavour to reach the transcendant. The verse describes the myriad manner in which the eyes of the soul searches to catch a glimpse of the Lord. The poet says that “My eyes are thirsty for a glimpse of the lotus-eyed Krishna, who is wearing a saffron tilak, and a pearl necklace. After stealing my heart he has left me like a worthless blade of grass”. The poet further says that “No one knows the pain I go through on account of separation from Krishna. People make fun of me, not knowing my pain. O’ Krishna, without seeing you, I cannot rest”. Verses of Sant Surdas (16th century saint poet) was conceptualised and choreographed by Guru Shovana Narayan, was first premiered in 1980

           Presentation: As a solo + Also presented as a Group composition

           Duration: 15 minutes

‘Nartaki Kavi Durbar Mein’

This piece explored the dialogue between ‘doha’ (the self rhyming couplet – eg Kabir, Rahim) and ‘choupai’ (a quatrain verse eg of Tulsidas). But soon, both face the challenge of ‘mukta chhand’ poetry. The realms of metres in Hindi poetry formed the theme of this dance portrayal.

           Presentation: As a solo + Also presented as a Group composition

           Duration: 18-20 minutes

“Nupoor”

Shovana daringly presented an item highlighting various aspects of footwork, such as ‘ladis’, tihais’, ‘chalans’, etc, so much a hallmark of Kathak, accentuated by lights only. The music again was just the cymbals marking time, while the percussion and footwork danced tantalizing rhythmic patterns. Focussed lights on the feet only were utilized.

           Presentation: Group composition

           Duration: 7 minutes

“Yama”

Eternal pursuit is tinged with romanticism and humanism that touched the hearts and found expression in the poems of today what is known as the ‘chhayavaad’ period. The young and sensitive Shovana could not remain untouched by such poems and the works of Mahadevi Varma bore fruit in 1980 in a dance sequence called “Yama” (The Night) which featured various moods and symbolisms in this eternal quest of man from her famous collections of “Neehar” (The Mist) and “Yama”.

           Presentation: As a solo + Also presented as a Group composition

           Duration:18-20 minutes

Ishrat-e-Farda (based on works of Amir Khusro, Kabir, Lal Ded, Rabia-al-Basra)

This production was performed at various times and on various occasions and at various venues of Delhi and Lucknow since 1980. First Ishrat-e-Farda was performed to verses of Amir Khusro and Kabir. Later from mid-nineties, verses of Lal Ded and Rabia-al-Basra were added. For the first time, verses of other women saint poets such as Lal Ded and Rabia-al-Basra, besides the oft-known verses of Meerabai till hitherto commonly portrayed within dance, were taken up for interpretation.

           Presentation: As a solo + Also presented as a Group composition

           Duration:  18-20 minutes