Productions

Eternal Quest

Eternal Quest dwelt on the writings of women-poets who extolled passionate inner, mystical, and highly personal devotional love for the Divine and chose to express themselves in the vernacular languages as opposed to Sanskrit. The Bhakti Movement gained momentum from the 12th centuries in the central western regions of India, it moved northward, coming to an end roughly in the 17th century. The production dwelt on two women saint-poets, Lal Ded from Kashmir and Gangasati from Gujarat, both women saint poets revered by their people.

The Vaks of Lal Ded, who was a Shaivite, stemmed from personal experience, conveying the realization that the divine resides within. Shovana next turned to the Gujarati poet Gangasati’s bhajans written for her daughter-in-law, Panbai, to advocate the path of self-realization through their good karma and meditative devotion to delineate the path of spiritualism. In stark contrast to Lal Ded, Gangasati was a happily married woman, with a devotional bent of mind and spirit, who even converted her husband to the path of realization. Both Gangasati and Lal Ded spoke 29 of going beyond idol worship, of dissolving the “I” within, and finding ecstasy in merging the self with that of the para Brahman residing within.

This production was part of an overall evening with Ranjana Gauhar (Odissi) and Rashmi Vaidialingam (Kuchipudi). The sutradhar of the programme was art writer and artist Alka Raghuvanshi.

(Premiered on 27th January, 2020 at India habitat Centre, New Delhi)

           Presentation: Multi-Style National Collaborative work

           Duration: 50-55 minutes

“Shan-e-NoorJehan”

“Shan-e-Noorjehan” reflected the grandeur and glory of Noorjehan’s era that brings out the flavour of romance which is sought to be portrayed through various phases of her life: Her romance, marriage and the grandeur of the Mughal court. Interspersed with shairi, the evening had four parts namely (i) the beautiful allconsuming emotion of longing for union; (ii) the romance of being in Love (iii) joy and expectations - marriage and departure of the Bride to the Groom’s house and (iv) Shan-e-Durbar (Rhythm and Joy). Verses of the following poets were interwoven to highlight the various emotions of the production namely Amir Khusro, Meer Taqi Meer, Ammer Minai, Dr L.M.Singhvi and Shafaq.

           Presentation: Dance Ballet/ Group work

           Duration: 40 minutes

Traya

The power of three is universal. It is the tripartite nature of the world as heaven, earth, and waters. It is human as body, soul and spirit. Three is birth, life, death. It is the beginning, middle and end. Three is a complete cycle unto itself. It is past, present and future. Three is a moving forward of energy, overcoming duality, expression, manifestation and synthesis. Three is the first number to which the meaning “all” was given. The evening consisted of three items, each with three parts:

Triveni: that represented the meeting point of three rivers - Ganga, Yamuna, and Saraswati and associated symbolisms.

Trayam: that showcased the tripartite nature of the world - birth, life and death.

Trikaal: that centred on the wheel of time –bhoot, vartaman, bhavishya ie past, present and future. This third and finale item exuded contemporariness in music treatment, distinct from the earlier two parts.

(Premiere: PHDCC on 12th July 2019 which later saw several repeat performances)

           Presentation: Dance Ballet/ Group work

           Duration: 40 minutes

The Bhagwad- Ma Ganga Dhyayati (Environment and personal betterment issues)

"The Bhagwad: Ma Ganga Dhyayati" is based on the mulling and bemoaning of Ma Ganga (mother of Bhishma Pitamah) over pollution of her pristine waters through human weaknesses that have constantly been exhibited since the periods of the Ramayan and the Mahabharata, all of which have arisen due to pollution of minds of mankind. This was expressed through select verses from the Bhagwad Gita and expanded through episodes from the Mahabharata. Set in five Acts, the ballet sought to explore the practice of virtues of abstention from greed, non-egoism, of eschewing pride, anger and desire for revenge, for they spell disaster in the long run 28 as has been exhorted in the Holy Bhagwad Gita. (Premiere: 17th Dec 2018 at Kamani Hall, Delhi)

          Presentation: Dance Ballet – Multi Style Collaborative work

           Duration: 40-50 minutes

Rashmirathi: (Hindi poem of Ramdhari Singh Dinkar)

Rashtra Kavi Dinkar ji’s celebrated work ‘Rashmirathi’ centring on the poignant and sad life of Karna, the first born child of Kunti whom she had abandoned as he was born before her marriage, presents the poignancy of Karna and Kunti with all hues of human emotions trapped in moral dilemmas.

The production was premiered at Semariya, the birthplace of the poet in 2018 before a crowd of over 20,000 persons. The production later saw several performances in various towns and cities. (Premiere: 6th December 2018 at Semariya)

          Presentation: Dance Ballet/ Group work

           Duration: 40 minutes

Sangachhadwam: Dance of Unity and Peace – Vedic Hymn (with 5 styles of classical dance)

“Sangachhadwam” featured 5 major dance styles of India, reflecting the spirit of the Vedic Hymn of Unity (Riga Veda X-191-2) wherein it extolls and exhorts: “Come together! Speak together! Let our minds be all of one accord. Let our speech be one and united be our voices! May our minds be in union with the thoughts of the Wise, sharing a common purpose as we worship together as one! Let our aim be one! Let our hearts be joined as one. Let united be our thoughts. At peace with all, may we ALL be together in harmony!” (Premiere: 18th Feb 2018 for Astitva Awards Ceremony at PHDCCI House)

           Presentation: Multi Style Collaborative work

           Duration: 20 minutes

Agni Pariksha: (14th Nov 2017 at Kamani Auditorium, New Delhi for the Delhi International Art Festival)

The trial by fire of Sita, her emotions and related issues form the central theme of this production. Sita, who has been abducted by Ravana and has been kept in Ashok Vatika for few years before he is killed by Rama, has raised the issue of whether Sita had submitted to him or not. To prove that she had been ever faithful to Rama, she undergoes the test of fire from whence she emerges unscathed. The issue that has 27 always been a subject of discussion is whether it was a voluntary act or whether it was thrust upon her. Tulsidas in his Ramcharitamanas (written in 16th century) describes the episode as would a devotee (‘bhakta’) whereas Bakmiki’s Ramayan (written more than 2000 years prior to that of Ramcharitamanas), views Rama not from the point of view of a devotee. Balmiki therefore is forthright and questioning in his approach as would be contemporary thoughts.

Thus Agni Pariksha brings out the two perspectives. Starting from Tulsidas’s perspective (to verses in Awadhi) it moves on to Balmiki’s perspective (originally written in Sanskrit) where it is articulated through the Hindi poem of Kamala Singhvi. The rendition of the Hindi poem is in the soliloquy mode.

This bold and forthright piece was first performed in the Sahitya Kala Parishad Dance Festival held at Central Park, New Delhi in 1988, followed by several shows. The original music score was by Pt Jwala Prasad but in the 2017 version, the music was given by Madho Prasad.

           Presentation: Collaborative work

           Duration: 20 minutes

“Nayikas of Vidyapati” – with 6 classical dance styles and 10 artistes

Vidyapati, the fourteenth century Maithil Kavi Kokil, blazed a trail in the eastern part of India, inspiring Bengali and Odiya literature, "analogous to that of Dante in Italy and Chaucer in England."

Yearning of the soul for union with the universal soul, the Almighty and individual self-realization through direct love, a key feature of Hinduism, empowered the common man to realize God directly. In this context, the love poems of Vidyapati between Radha and Krishna symbolic of the soul and the universal soul, resonates with devotion, emotion and sensuality. If, according to Lou Ratte in ‘The Uncolonised Heart’, Jaidev while relying on external nature, depicted sensual love and enjoyment experienced by Radha and Krishna, then Vidyapati went beyond the senses to the inner heart, baring the heart and reflecting the pain in this voyage.

For the first time ever, the Dance Festival titled “Vidyapati ki Nayika” featured 10 dancers from six classical dance styles (Kathak, Odissi, Mohinyattam, Bharatanatyam, Kuchipudi and Manipuri) performing to Vidyapati’s poems. This was premiered at Stein Auditorium in the LalitArpan Festival in 2016.

           Presentation: National Collaborative work

           Duration: 1 hour 40 minutes

“Om Namo: Ganga-Shivay Namah” – Danube Ganges Festival, Hungary

Ganga, sacred river for people of the sub-continent, is the life giver. She (River Ganga), symbolises the ever flowing ‘prana’ – breath in the mortal body as also purity and the power to purify. Based on the lyrics of Adi Shankaracharya and Ravana, the item, “Om Namo: Ganga-Shivay namah” embodies the spirit of benediction to ‘ga’ that which flows through the ‘anga’, body, causing movements - the dance of life. Residing in the tresses of Lord Shiva, the ‘Auspicious One’, the flowing meditative movements give way to the ‘tandava’, rhythmic virility of the cosmic dancer, Shiva. Immersed in his benevolence, the dancers seek ‘moksha’, liberation, from ignorance that leads to the melody of self-realization’. Music: Madho Prasad

           Presentation: Group presentation

           Duration: 15-20 minutes

“Karna-Kunti Samvad: Rashmi Rathi” – Wardha

The poignant exchange between Karna and Kunti, hours before the start of the Mahabharata battle, was portrayed by Shovana movingly in a soliloquy form. The heart wrenching rendering left several moist eyes in the auditorium.

This piece from Chapter 5 of Dinkar’s celebrated work ‘Rashmirathi’ presents the poignancy of Karna and Kunti with all hues of human emotions trapped in moral dilemmas. Kunti, a mother who had abandoned her son Karna at birth, but knowing fully well Karna’s unmatched prowess in the art of warfare, now seeks Karna’s assistance in the battle against the Kauravas at the hour of approaching battle. Where was she, Karna asks in pain, when he, despite being noble born, had had to 26 face the ridicule of society for being brought up as a lowly person’s son? Why should he turn against his benefactor, the Kauravas, who not only gave him shelter but also respect and honour?

Outspoken, acerbic, and unambiguous in his condemnation of her actions, past and present, and even though foreseeing a defeat for the Kauravas, Karna declines Kunti’s request to cross sides. He however, offers Kunti the consolation that he will not kill all her sons: he will either kill Arjuna or be killed by him, so that she will still remain the mother of five sons! He says that the war is quite pointless yet it is a destiny that has to be fulfilled.

           Presentation: Duet work

           Duration: 20 minutes

"Ramatva" (on 27th April, 2015) – SNA Meghdoot Theatre

Maryada Purushottam, the essence of good, the king who governs a Ram Rajya, who fights all kinds of demons –within and without- to attain his wife and then forsakes her…… Ram and Ramatva have now come to denote various qualities –some far removed from the virtuous embodiment which Rama had come to denote in earlier times.

An effort was made to demystify Rama or possibly, add to the complexity of this figure who behaved in manners contradictory. The pieces included the dialogue between Bharat and his wife Madhavi on the reasons for the delay in Rama’s arrival after completion of his exile and the future status of the ‘padukas’, the ego of the dhobi and his treatment of his wife and the contemporary stand of a woman of today based on the poem “Ram mai tumhe maaf nahi kar sakti” based on a poem by Kamala Singhvi rendered as a powerful and moving soliloquy by Shovana.

           Presentation: Group work

           Duration: 25-30 minutes

“Ghunghat” (The Veil) – SNA Meghdoot Theatre

The spirit of social activism is deep-seeded in Shovana. And it is this spirit that led her to Ismat Chugtai’s Ghunghat (The Veil) which is a poignant tale of how two lives can be ruined by social and cultural conventions combined with ego and mental subjugation to social norms. The unparalleled beauty of the young bride induces unknown fear and complex within her husband. His male ego prompts him to order her to remove her veil – herself - on the bridal night. But she, schooled under cultural conventions waits for him to unveil her. Angered he walks out on her. She is agonised. Years later he returns - but history is found repeating itself. Years pass and she, an old woman, is still waiting for his return and longing for acceptance as a wife. He returns and this time, defying all social and cultural norms, she decides to unveil herself before being ordered to do so. But does she experience the long lost happiness or is it too late?

           Presentation: Group work

           Duration: 25-30 minutes