Productions

“Wichhare Paani” (a Punjabi Opera based on the pangs of partition as seen through the eyes of the five rivers of the Indus

This opera was produced and directed by the well-known Punjabi singer Madan Bala Sandhu wherein the dance sequences emoting the characteristic and folk legends associated with each tributary, were delivered by Shovana Narayan and her group. In the finale sequence where the partition takes place and the river becomes blood red, Shovana was dynamic in her red fury.

           Presentation: Group composition/ Opera – Multi Style

           Duration:30 – 40 minutes

Khajuraho (1999): “The Dance of the Temples” (film)

Khajuraho temples are well-known as the Temples of Love. But how many have attempted to understand the philosophy behind its architecture and sculptural placements? Here again, Shovana displayed great insight and deep study which resulted in a video ‘Dance of the Temples’.

           Presentation: Group composition/ Mini ballet – Multi Style

           Duration: 30 – 40 minutes

“Samvedana” (1999) – special choreography based on poems of eminent Hindi literatteurs:

‘Samvedana’ was performed for the Memorial concert organised for Kargil War Martyrs that Shovana had organised in collaboration with artist Naresh Kapuria and Aruna Vasudeva. In this item the feelings of time and of man, as a parent, as a soldier, as a friend, towards duty and the accompanying pain, anguish, feeling of helplessness yet tinged with the firm resolution of doing one’s duty has been brought out;…for life is a constant struggle, like that of a war, and each one of us are constantly under test. Life is pulsating with rhythm and dynamism but it is also transient and therefore, being mortals, we look towards proof for everything as a mental support for enabling us to go ahead …. only to realise that we have to ultimately find peace within ourselves. The poems were taken from the works of Kunwar Narayan, 16 Shivmangal Singh ‘Suman’, Ramkumar Verma, Subhadra Kumari Chauhan, Harivanshrai Bachchan and Tripti Pande.

           Presentation: Group composition/ Mini ballet – Multi Style

           Duration: 30 – 40 minutes

“Satya ki Khoj” (on the works of Guru Gobind Singh for the Ter-Centenary celebrations)

This special ballet based on the works of Guru Gobind Singh, was performed on the occasion of his Ter-Centenary celebrations. It reflected the eternal struggle against social injustice. This production was beset with challenges. Verses of saint poets are essential texts/lyrics for any classical dance delineations. However, the most evocative verses of Guru Nanak and Guru Gobind Singh were not allowed to be performed through dance. Thus the story-line that mirrored rebellion of a woman against oppression and seeking freedom of expression, saw translations of verses of the Sikh saint Gurus, while the actual verses were rendered to freezing of movements on a darkened stage with just a shiny halo light. Another novel treatment was the manner in which the women who are living a life like that of a corpse was depicted. Against blue back light, girls walked slowly across the stage fully wrapped in a white shroud, gave a most evocative, moving yet chilling effect.

           Presentation: Group composition/ Mini ballet – Multi Style

           Duration: 30 – 40 minutes

“Sannata” (Hindi poem of Bhavani Prasad Mishra)

The eternal inner quest has been a recurring theme in Shovana’s works. What has she been seeking? In the constant process of rediscovering herself, the issue of concept of ‘freedom' plays a dominant role…. Freedom from the shackles of fear within each one of us! It is a journey of the ‘inner self' to the ‘inner being'. This is especially relevant today when the world is beset with tears and strifes. Fascinated with this view expressed in the most poignant poem ‘Sannata' of the famous Hindi poet, Bhawani Prasad Mishra, Shovana brought together artistes from inter-related disciplines of art from different parts of the country and the world namely French born modern dancer Gilles Chuyen, Carnatic Flautist GS Rajan, theatre actordirector Sunit Tandon and herself to interpret the various characters symbolising the inner conflict within each man in “Sannata” (The Ballad of Freedom).

In the English translation of the Hindi poem, while Sunit Tandon portrayed the narrator who is wandering through the symbolic ruins of an ancient abandoned fort that has been taken over by nature and introspects on disenchantment and disillusionment experienced in life through the story of the arrogant King (Gilles Chuyen), his sensitive wife (Shovana Narayan) and the mystic call of the flute of the inner self to let go (symbolized through the flautist in a triangular relationship).

           Presentation:Group composition/ Mini ballet – Multi Style

           Duration:30 – 40 minutes

On Gregorian Chants and Vedic Chants:

For the Shitya Kala Parishad annual Festival for the youth at Sapru House, this unique choreography brought out the universality of devotion and their similarities.

           Presentation: Group composition/ Mini ballet – Multi cultural

           Duration: 15-18 minutes

“The Search Within: Antar Yatra” (International Collaboration with Austrian curator Werner Dornik)

In this production for the international collaborative exhibition, “The Search Within: Antar Yatra”, for Shovana, it was a spiritual journey. There is implosion and explosion of ideas, of quests. For each, it is a personal journey – a journey that is not smooth. Each one is seeking something. Some may realize the ephemeral and transient nature of life, while seeking union with the divine. With the immortal poem ‘Abla-pa’ of late Ali Sardar Jafri providing the link, this Sufistic journey echoes the thoughts of various mystics, such as Amir Khusro, Kabir, Maulana Jalal-ud-din Rumi and lady mystics, Lal Ded (from Kashmir) and Rabia-al-Basra.

           Presentation: Group composition/ Mini ballet

           Duration: 30 – 40 minutes

“An Evening with Franz Schubert” (1998)

Celebrating 200 years of birth of Franz Schubert, the evening saw an evening of Kathak abhinaya to four ‘lieds’ of Franz Schubert namely Erl Konig, Du Liebst Mich Nicht, Traenen Regen and Fruhlingssehnsucht. Parallel sentiments of traditional Kathak thumris to few ‘lieds’ were also performed. It was Schubert’s yearning to be united with his love, the central pillar of romance that motivated him to set music to poems. Circumstances also led him to explore new avenues of music compositions. Schubert’s lieder reflect the essence of Indian philosophy and Sufism, essaying the strong desire to be united with the beloved.

           Presentation: Group composition/ Mini ballet

           Duration: 30 – 40 minutes

“Yudhisthar and Draupadi”

The dance-theatre ‘Yudhishtir and Draupadi’ has been performed several times, not only in Delhi but also in Nepal, Punjab and Kerala. It has won raving reviews all over. This production, even though based on an event in one of our great epics, ‘The Mahabharata’, yet is so contemporary, as it explores various facets of human nature. It could be the story of any person; it could be articulating the innate unsaid feelings of a person. It makes a person think, laugh, sympathize, enjoy but above all ….. it talks about relationships which are eternal …. traditional yet so very modern! The broad story of Mahabharata is well-known. Draupadi, the Princess of Panchala, is won by Arjun, the archer par excellence among the five Pandava brothers. But Draupadi, against her will has to marry all five Pandava brothers, because Kunti, her mother-in-law, not knowing that her sons had brought Draupadi with them, pronounced the words written in stone: ‘All of you enjoy what has been obtained’. 14 Yudhishtar, the eldest of the five brothers, was the first to be with Draupadi, even though Arjun had won her and she was prepared only to marry him.

Pavan K.Varma’s book explores the fascinating relationship between Yudhishtar and Draupadi. Draupadi was not like most of the other women of her time – submissive and yielding. How did she react to Yudhishtar , and why did Yudhishtar, sober and reticent by personality and inclination, fanatically gamble away all his Kingdom and wealth, and, last of all, his own wife, Draupadi? Based on a long poem written by Mr. Pavan K.Varma, the theme breathes of passions and dilemmas between Draupadi and her husband Yudhishthar. We follow Yudhishthar to the still pool of death where, by answering philosophic questions posed by the Yaksha, in reality his father, Dharma. Kaunteya brings back his Pandav brothers to life. The primary concern however is the trrouble between a woman, Draupadi, and a man, her ‘first’ husband Yudhisthar. Arjun won her, Dharmaputra gambled her away. But Arjun had Subhadra and Bhim, Hidimba. Who did Yudhisthar have? No one but Panchali. But how did Draupadi think of Kaunteya? Ultimately, Varma’s book is about a man and a woman, and their interaction; a world opaque to outsiders, a cosmos in itself.

           Presentation: Mini ballet (Duet format – dancer and narrator/sutradhar)

           Duration: 30 – 40 minutes

“Chiragh-e-Dair: An Ode to Benaras” of Mirza Ghalib

b As in Mera Safar, the discussions on mysticism, spiritualism and secularism held between Rais Mirza, Ali Sardar Jafri and Shovana Narayan led to yet another coproduction in “Charagh-e-Dair” in 1997, translated by Ali Sardar Jafri. It was the first time that the cultural world and the audience at large became aware of the Ode to Benaras by Ghalib reflecting the great catholicity of his spirit. The poem served as a reminder for the need for harmony in a time when reason seems to take a back seat and fundamentalism seems to have raised its head all over the world!

The key verse where Benaras has been stated to be the “kaaba of Hindostan” was shared by Shovana with several State and central departments, including the ICCR

           Presentation: Group composition/ Mini ballet

           Duration: 30 – 40 minutes

Creative Director, Opening & Closing Ceremony of Indian Independence at National Stadium Shovana was Creative Director-producer of the Classical Dance Sequence in the Opening Ceremony of the Golden Jubilee Celebrations of Indian Independence at National Stadium 1997 in which 100 dancers of 6 classical dance styles were featured.

           Presentation: Multi-Style

           Duration: 20 minutes

“Ugana and Vidyapati” based on verses of Mithila poet, Vidyapati

Synopsis of ‘Ugana’: The ageing Vidyapati is deep in meditation writing and chanting verses in praise of Lord Shiva. Shiva is captivated by the sweetness of Vidyapati’s 13 verses and decides to descend on to the earth and serve Vidyapati so as to be able to hear his verses at every moment of the day. Disguised as ‘Ugana’, a lowly servant, he starts serving in the poet’s household. One day, Vidyapati, on a long tour, is dying of thirst. The faithful servant, Ugana, tries to find water, but all his efforts are in vain. In order to save his dying master, he is forced to give him waters of the holy Ganges from his tresses. Vidyapati is revived but recognises the holy quality of the water and realises that Ugana is none other than the Lord himself. He falls at the feet of the Lord but Shiva warns Vidyapati to keep his identity a secret otherwise he would be forced to leave his side. But fate wills it otherwise! Sudhira, wife of Vidyapati, incensed by the fact that both husband and servant have nothing better to do than write and listen to poetry, takes out her anger on Ugana and beats him with a broom. Vidyapati cries out to his wife to stop beating Ugana for he is Shiva himself. True to his warning, Shiva disappears and Vidyapati is left unconsolable in his mourning.

           Presentation: Group composition/ Mini ballet

           Duration: 20 minutes