Productions

Duet with Spanish Flamenco Dancer Omayra Amaya, Guitarist Pedro Cortes from Miami, Spanish Singer Julio Gabber (April 2003)

The overflowing Ashoka Hotel Theatre resounded with the combined strains of Flamenco and Kathak of Omayra Amaya and Shovana Narayan in one of the most 19 mesmerizing evenings that the capital had ever witnessed in recent times. Features of both styles, melodic and movements, were carefully interwoven to form one seamingless whole. Shovana and Omayra together began unfurling their arms and swaying their bodies to the meditative notes of the Vedic chant that melted into the somber and profound Cante Grande and Cante Jondo. The solo pieces saw the passionate rhythmic patterns and emotional outpourings in respective styles that finally merged into a climax. `The finale was joy de vivere with jugalbandi in footwork – Kathak complicated and exciting panorama of ‘tatkar’, ‘laris’ and ‘tihai’s’ in various ‘jatis’ to Flamenco’s steady beat of loud hand clapping, building up to a passionate fierce footwork, at times accompanied by the sound of the castanets and graceful arm movements.

           Presentation: Multi-Style (International Collaboration)

           Duration: 40-50 minutes

“RhythmIc Echoes & Reflections” (Jan 2003): MEA film with duets and trios with Tap dance, Spanish Flamenco dance and Western Classical Dance

The phenomenal success of “The Dawn After” motivated a young film maker, Naresh Sharma, to make a short film for Ministry of External Affairs on such an international collaborative experiment reflecting universality and globalization of spirit. The musical score was predominantly taken from The Dawn After while the title of his film was borrowed from Shovana’s book on Kathak, a Roli publication.

           Presentation: Multi-Style (International Collaboration)

           Duration: 40-50 minutes

“Ras Rasik Raskhan” – based on the works of Raskhan

The eternal ‘leelas’ of Lord Krishna through the mesmerizing verses of Raskhan formed the core of the production. The evening bespoke secularism as Raskhan was a Muslim and yet was a great devotee of Lord Krishna.

           Presentation: Group composition/ Mini ballet

           Duration: 25-30 minutes

“Kahlil Gibran”

On the 119th birth anniversary of the famous mystic poet, philosophical essayist and artist, Kahlil Gibran (Lebanese-American), Shovana Narayan, the renowned Kathak danseuse, stepped out to embrace the thoughts of Gibran in a five part act, through her ‘abhinaya’, seemingly disparate yet in reality, echoing thoughts that are universal.

           Presentation: Group composition–International Collaboration)

           Duration:30 minute

“Colours of Qutab” (2002) with Spanish Flamenco dancer Ivan Martin Barroso, Qutab Festival

In the duet performance of ‘Colours of Qutub’ by Padmashri Shovana Narayan and group and Ivan Martin Barroso (Spanish Flamenco) in collaboration with the Spanish Embassy, the sound of footwork in both dance forms ‘Zapateado’ in Flamenco and ‘Tatkar’ of Kathak intermingled in the festive atmosphere of Qutab.

           Presentation: Multi-Style (International Collaboration)

           Duration: 40-50 minutes

“Pukar” – on the girl child born in a prison

Delhi had witnessed an unfortunate tragedy in 1999 because of drunken driving. It was around this time that there were discussions about a girl child of a lady prisoner being sent to a rehabilitation home as her father and other family members had washed their hands off the mother and the child. In a stray discussion with a gentleman who was spearheading movements such as “Don’t Drink and Drive” and “Say No to Drugs” aimed at spreading awareness among youngsters who were victims of these vice which, in quite a few cases, had led to fatal incidents, the discussion veered to towards children born within the prison walls and to associated important issues.

           Presentation: Group composition/ Mini ballet

           Duration: 20-25 minutes

“Nandi” (text researched on Nandi, the bull – vehicle of Lord Shiva)

Based on a folk-lore from Deogarh (Jharkhand), it is a beautiful tale of why Nandi refused to be part of Shiva’s ‘baraat’ and what would make him relent.

           Presentation: Group composition/ Mini ballet (Once done as Multi Style)

           Duration: 15 minutes

“Yashoda’s Soliloquy: The Other View”: Based on Dr Sitakant Mohapatra’s poem,

is a “modernist reworking of an ancient myth adapted from the Mahabharata. Lord Krishna’s putative mother Yashoda laments her Cassandra-like fate: the pain of knowing something profound that cannot be shared and believed by others. The matrix that holds the poem together is an incident narrated in the Bhagavata when she tries to peer into the mouth of the child Krishna to see whether he has eaten soil. Instead of soil, she finds the entire universe with all its vastness in his mouth. She shares her secret with others, but they see nothing unusual inside Krishna’s mouth when they try to verify her claim. She carries her profound and disturbing experience all alone. The poet describes her mental turmoil and her unbearable agony of knowing too much” (quote from review by Literary critic Dharanidhar Sahu titled ‘Memories that transcend time’, The Telegraph, Calcutta, April 5, 2013)

           Presentation: Multi Style soliloquy

           Duration: 20 minutes

“Geet Govind” (a special ballet based on Jayadeva’s works highlighting the importance and mood of the ‘aharya abhinaya’)

           Presentation: Group composition/ Mini ballet – Single style / Multi-Style (both presented)

           Duration: 30 – 40 minutes

“Sound of Emptiness and Harmony” (2001) with Buddhist Monks of Tashi Dhargye Monastery-

(A Symphony of Kathak and Buddhist Chants for World Peace) This production yet again saw the activist and the social consciousness of Shovana surfacing. Following the Kargil war, once again the fact that today we are living in a world torn by tears and strifes, came to the fore and led to the staging of “Sound of Emptiness & Harmony”. The cause of such violence is the ego hidden within us which tears apart individuals, groups, communities. This was further strengthened with the ghastly 9/11 attack. The episodes featured were drawn from the life of Lord Buddha, Emperor Ashoka and dancer Amrapali. (This was performed in various parts of the country such as Delhi, Pune, and Chandigarh etc)

“Vishangi” (2000-2001) – on poisonous serpent girl by Hindi poet Dr Kanhaiya Lal Nandan

People always hope for the best, even in the face of adversity. This darkness of adversity resulting in gloom, despair and sagging of spirit is yet always accompanied by yet another emotion for even a serpent girl taught only to kill! The birth of “Vishangi” has been penned down by the eminent Hindi poet Dr Kanhaiya Lal Nandan.

           Presentation: Group composition/ Mini ballet

           Duration: 20 minutes

“Ashtanayika: Women in Love”: (based on Rasmanjari by Bhanudutta of Mithila, 15th century)

(special choreography on classical works of verses from Rasmanjari by Bhanudatta of Mithila (15th century) as well as folk songs with a replication of costumes of 3rd century BC). ‘Woman in Love’ is an experience familiar to most women. Based on the classical referencing to the eight states of the woman in love or the beloved namely the ‘nayika’, this evening brings out the poignancy, the tenderness and the range of emotions experienced by her in various situations. It is, therefore, not uncommon to see beautiful and poignant translations of the emotions of these ‘nayikas’ who have served as the central theme of a large number of litterateurs, in the common man’s songs of the region. This evening’s rendering embraces within its folds, not only poetries of classicists like Bhanudutta and Vidyapati but also of patrons such as Maharaja Anand Kishore of Bettiah and the common man’s songs. A notable feature was also the unique replication of the costumes of the area as worn by the dancers of yore (inspired by the sculptures of 3rd century BC from the region of Bihar, presently housed in Bihar Museum).

           Presentation:Multi Style

           Duration: 30 – 40 minutes