Productions

“Motilal Nandi” - from Khapchhada ie Nonsense Rhymes of Rabindranath Tagore

It was a challenge when Shovana Narayan was requested to translate and interpret, through dance one of the ‘nonsensical’ verse from the Khapchhada series of Rabindranath Tagore. Since it was ‘nonsensical’, the challenge of interpretation of 25 this form of ‘hasya rasa’ was enormous. Going through the poems, she found ‘sense’ in the ‘nonsense’ for the ‘nonsense’ stories and verses had identifiable characters and simple understandable plots. Taking up the challenge she chose the piece on Motilal Nandi, a character that all could identify with. How often in all our lives, learning of grammar and vocabulary have eluded us and left us frustrated. So was it with Motilal Nandi!

           Presentation: Duet work

           Duration: 20 minutes

“Shunyata” (Delhi, Pune)- An Inter-Faith Dialogue (Kathak and Vajrayan Buddhism) with Grammy Award winning Monks

With her undying faith in communal harmony through inter-faith dialogue, the crusading spirit of Shovana yet again sought to draw attention to this important aspect in a torn and violence ridden society, through her performance “Shunyata”in fusion with Grammy Award winning Buddhist Monks of Palpung Sherabling Monastery. Always fascinated with Lord Buddha, his life and philosophy led Shovana in the past (since 1979) to perform several episodes from his life, such as Yashodhara, Sujata, Sound of Emptiness and Harmony among others.

“Shunyata” is essentially the coming together of two ancient traditions, both of which were born in India. “Shunyata” was preceded by “Sound of Emptiness & Harmony” in 2003 featuring Shovana Narayan with Monks of Tashi Darghye Monastery. The premiere performance of “Shunyata” in 2014 was presented by those who have spent their lives upholding the traditions – Padmashri Shovanaji who has spent her life bringing Kathak to people and the monks of Palpung Sherabling Monastic Seat who have played an important role in preserving the best of Vajrayana Buddhism under the guidance of Guru Vajradhara Chamgon the 12th Kenting Tai Situpa. The monks of Palpung Sherabling Monastic Seat are also the only Buddhist monks in the world to have been awarded the Grammy for their music. Essaying the philosophy of Shakyamuni Gautam Buddha, “Shunyata” is a dance and music production in Kathak style.

           Presentation: Group work - Multi-Cultural International collaboration

           Duration: 45 minutes

Ashta Nayika:

The one hour production was first staged for the ICCR. It represented the eight states of love that were performed to taal mala of cycles of 7 beats, 9 beats, 10 beats, 11 beats, 12 beats, 13 beats, 14 beats and finally 16 beats. Each of the states was set to a different raga.

           Presentation: Dance Ballet/ Group work

           Duration: 50-60 minutes

“Jehanara” (Lucknow, Delhi etc)

Through the story of “Jehanara”, the crusader spirit within Shovana Narayan and her sensitivity saw her once again drawing attention to women and social issues that are no different today than it was in yester years. Indirectly, through this ballet, questions being asked were:

a) However powerful one may be, but is empowerment at hand to follow one’s heart?

b) However ‘developed’ the world may be, but is cruelty of society and of the powerful not visible at every step? Is this not visible even today? Such and many more questions ……………

           Presentation: Dance Ballet/ Group work          

           Duration: 45 minutes

“Bidrohi” (2012) of Kazi Nazrul Islam with Mahbub Hassan Saleh, Deputy High Commissioner of Bangladesh (Dhaka, IHC Delhi, Kolkata)

What is it that has forged a bond between Bangladesh’s National poet Kazi Nazrul Islam and Shovana Narayan? Did the great Bengali poet and musician’s intense spiritual rebellion against oppression and injustice reflected in his poems find echo in the graceful but intense activist spirit of Shovana? Apparently so, for on three occasions, Shovana has been seen performing to Nazrul’s most famous poem ‘Bidrohi’. In the third staging, she teamed up with Mahbub Hassan Saleh, Deputy High Commissioner of Bangladesh in Delhi to celebrate the 90th year of the epic poem ‘Bidrohi’ by Kazi Nazrul Islam, introspecting on the various shades of rebellion that upsurges within man, some silently, some visibly, reflecting a panorama of emotions.

           Presentation: Collaborative work

           Duration: 20 minutes

Kadambari: The Poet’s Muse (2012) (Kamani, Siri Fort etc)

The long association of Shovana Narayan’s parents with the extended family and works of Nobel Laureate, Rabindranath Tagore evoked a natural interest in the life of this extraordinarily talented visionary who became a trendsetter in several ways. In this voyage, the mysterious Kadambari, sister-in-law of Tagore, became a source of fascination and resulted in this dance enactment. Throughout Tagore’s works, the influence of Kadambari, is unmistakable and is also evident. Four aspects of her influences were undertaken that find resonance in Tagore’s works: her love for nature; her love for tradition and yet an inquiring open mind; her compassion and understanding of the common man’s woes, desires (emanating from her own simplistic background); her unfulfilled desire of motherhood, parting of parent and child and the mindset of society. These four influences became the pegs around which the dance ballet revolved. Even the song “Tobu mone rekho”, written in 1888, four years after the suicide of Kadambari, his sister-in-law, and which was sung by Tagore himself in a recording shortly before his death, indicated his life-long emotional relationship with Kadambari and her never forgotten influence on him. Appropriately, the dance ballet production opened with this old recording of the song in Tagore’s voice.

           Presentation: Dance Ballet/ Group work

           Duration: 45 minutes

“Shuoranir Shaad”: (SNA Meghdoot, IHC, Mumbai) Tagore’s short stories have explored the canvas of human psychology in all its hues. In pursuit of happiness, keeping the unwelcome sorrow at bay, man is constantly chasing ‘maya’. However this is merely mirage in the ocean of the great desert of life, as the desire to imitate and possess what others have, stemming from envy, consists in seeing things never in themselves, but only in their relations, from whence arises shame at being humiliated for our behaviour. Experience holding an invisible mirror reflects the true inner self of who we really are and the realization that happiness does not lie in the satisfaction of desires. To belittle, the person has to be little. That which causes through trials, emerges strongest. A gem shines only after enduring great friction as does steel emerge strong after passing through several tests in fire. Out of suffering have emerged the strongest souls. “Shuoranir Shaad” was introspection by Shuorani, the Queen of Happiness through her encounters with Duorani, the Queen of Sorrow. The story is an in-depth inquiry into the relationship between desire and envy, imitation and original, happiness and sorrow.

           Presentation: Collaborative work

           Duration: 30 minutes

Meri Dilli Meri Shaan:

Delhi has always welcomed one and all with open arms – right from time immemorial. History, tradition, legacy is encapsulated in each and every stone of this city. Where else can one get a city soaked in history! Capital seven, if not eight times over! Its memory encompasses a very large canvas right from the era of the Pandavas when she was the capital Indraprastha of the Mahabharata era till modern day times. It is a beautiful example of co-existence of the old stones of numerous Delhi’s ruins, the grandeur of the ancient Pandava period followed by the Mughal era and later, the ever-growing city with its modern structures. Behind the facade of the multi-layered population and environmental concerns that it faces today, there are well-hidden tales of courage, romance, pathos, anguish and grandeur. Under every bit of earth lies buried a vast memory of experience.

The myriad emotions ranging from nostalgia to romance to history and of-course contemporary Delhi, ‘Meri Dilli Meri Jaan’ was a unique offering of dance and music with by celebrated Kathak Maestro Padmashri Guru Shovana Narayan and her Asavari Repertory. It was first premiered in Jan 2010. Later its revised version was performed with singer Rene Singh and poetess Zakia Zaheer, grand-daughter of the well-known poet Altaf Hussain Hali.

‘Ladli – Do Anubhav’

By ruthlessly killing the female foetus right in its sacred womb itself, we are guilty of killing a being – a being that would have nourished and perpetuated mankind; a being of unassailable divine fertility; a being that is symbol of strength and replenishing compassion; a being of ubiquitous fragrance, panoramic beauty and bonding equality! She, Ladli, too is life and has the right to live. She too is a being, equal to her brother. She is one who holds half the sky. So then why deny her laughter, her pains, sorrows and joys?

‘Ladli - Do Anubhav’ drew attention to the raging malaise of female foeticide. It dwelt on the cry of the foetus asking for her right to live, love, experience pain, sorrow, joy and happiness. Who are we then to snatch this away from her?

           Presentation: Mini ballet/ Group presentation

           Duration: 30 minutes

Stree Spandan: Collaborative work

Collaborative work with Gopika Varma and Sharon Lowen, essaying three women from the Mahabharata: Kunti, Draupadi and Gandhari. What comes through in this production is that if they were not who they were, then what would have been the tenor of the Mahabharata? From today’s perspective, would they be considered winners or losers? Would they or should they have acted differently? Several questions with differing answers from different perspectives.

This was first premiered in Chennai in 2009.

           Presentation: Multi-Style Collaborative presentation

           Duration: 50-60 minutes

“Indradhanush”: Programme for Bihar Flood Relief

Shovana organised the first endeavour of artistes of Delhi for helping affected families of Bihar Flood. She along with her group rendered emotional support to the Kosi flood affected victims. River Kosi – also known as the River of Sorrow – has 22 always been well-known for rapid and frequent avulsions of its course and the extensive flood damages it causes.

           Presentation: Group presentation

           Duration: 20 minutes

“The Ragpicker Children”

Moved by the plight of the children that Shovana saw in Prayas, “The Rag picker Children” saw birth. Through the dance production, several questions were asked relating to circumstances that led to such a life. In its treatment, two rag picker girls narrated their story: (a) Violence in the home with a drunken father and several siblings that needed her to work too to augment the meagre earnings of her mother; (b) the abandoned orphan girl who escapes daily to work as rag picker than be forced into prostitution racket by her self-appointed guardians.

           Presentation: Group presentation

           Duration: 20 minutes