Dance when presented as an experience is amazing in its ability to draw the viewer through the power of intention and suggestion to define a theme and bring it to life. When presented with depth, classical dance becomes the umbilical cord which connects us, not only with our inner selves but also the world for which dance should transform to a one to one experience .
The unique festival Thrayam at the NCPA Mumbai, on July2’2022 was an other worldly experience for all who witnessed t ar the Experimental Theatre. The housefull theatre applauded abd cheered the imaginative Curator Kalashri Dr Lata Surendra as she stepped onto the stage to reach out with highlighting the romance if the number three through seasoned and exemplary artists.
The anticipation of the crowd was obvious as they listened intently to her introduction to an Ode unto the poetry of Three, through the bridging metaphor – Dance! She awakened people to the Tri- particle nature of all existence as heaven, earth, water and in the human as body, spirit and soul . The two hours that followed was a journey into the very pulse of three .
Legendary Guru Smt Vyjayanthi Kashi, the reputed kuchipudi exponen and a celebrated performer and choreographer; the artistic director of a dance school Shambhavi School of Dance , explored three through Triguna . Three attributes of Sathva ,rajasik and tamas through the mystery that is the woman .- Sharmishte
Who is she ? She raised questions to explore with purposive intent, endorsing her years of experience steering the way for the conclusions- “Wise is she who is Sattvik or ,petty is she as Tamasik or rich as in, Rajasik”.
There is always an element of spirituality and philosophy that seeps through each production of this consummate artist that has her dancibg to express more than mpress Smt Jhelum Paranjape renowned Odissi Exponent, Mentor, Choreographer and founder of Smitalay presented the flow of the number three through the three identities of Narmada.
Narmada the Goddess
Narmada the Mother
Narmada the River
An artist with a unique vision and a signature style that etched Odissi in every movement , she reached out with the eloquence of three varied aspects of river Narmada. Jhelum ‘s independent thought process was reflected in her moving away from the traditional attire of Odissi to a unique and more contemporary aharya in white that gathered the kinesthetics of her chosen style beautifully endorsing that the sattvika soars beyond the tangible and visible. In fact not once did it come in the way of her exploring of Thrayam.
Kalashri Lata Surendra, who is a renowned, Bharata Natyam Exponent, Mentor, Choreographer, researcher, writer and also the Curator & Produce r o Thrayam explored three with two pieces choreographed and conceptualised by herself . She commenced with an exploring of Vasuki -the snake coiled three times around the neck of Lord Shiva representibg the three forms of time — past, present and future — that we transit through. An Intricately choreographed piece set to Thisra Jathi Dhruva Thalam in 11 aksharas ,she dedicated it to her Mentor, the legendary Vidwan Kalaimamani Guru Shri T S Kadirvelu Pillai in order to commemorate her six decades of performing career , since her debut in 1962 . She alsi defined the number three – through the effulgent form of Tribhangi Krishna, highlightibg the truth of Radhamayi Krishna , as kridhna leaves Vrindavan to reach out to the true purpose of his Incarnation . The synergy of Technique and emotion ; rhythm and bhava flowed through her vibrant form , holding the audience spell bound . Be it the impact of her feet echoing all around executing the dhruva thalam in Thisram to drape Vasuki in the symbolically structured Alarippu or l her heart wrenching portrayal of krishnathmika Radha transforming to Trubhangi Krishna, , technique and emotion merged as a visual poetry flowing through her as she awakened to the true purpose of Krishna’s incarnation , choking the hearts of all present .
An imaginative choreographer and an exemplary Kathak Exponent and Teacher Sanjukta Wagh explored Kaali – the great mother who is an embodiment of time itself her magnificience, her ferocity and her deep love and compassion for all beings Inspired by her grand Guru Madhurita Sarang,, the song was a traditional kathak piece by Mahavirji rearranged choreographed by Sanjukta Wagh herself with her fellow musicians Hitesh Dhutia on the guitars, Vinayak Netke on percussions and Radhika Sood Nayak on Vocals. Priya Sarukkai Chhabria s evocative poem on the mother goddess and her symbolism tied up the soul connect and the relationship between the divine and blessed, the poet and muse, the artist and the audience.
An absolutely consummate artist with a vision she truly transformed to the dark energy, the passion, the raw feminine who was as merciless as merciful.
The absorbing pathways unfolding , soon gathered its climax in the imaginative choreography of Smt Manisha Jeet that defined the journey of the genderless intangible through three genders.
“सा, तत्,सः The team headed by Smt Manisha Jeet, enthralled the audience with the magic of सा-Stree, तत्- Shikhandi & सः- Kal bhairav. The energised execution of the artists with beautifully co-ordinated movements and uttered vachika defined the finale with aplomb. The true climax however was when the spontaneous curator Lata Surendra had all the audience clap to thisra in three layas and changing gatis as a tribute to Three.
What a great evening gathering the poetry of the number three, through the three elements of Nritta, Nritya and Natya.
In the words of the curator of the show Kalashri Smt Lata Surendra: : ” Post witnessing Thrayam , the number ‘Three’ would have transformed to more than a number! In the tri- particle nature of the universe three would reign as the perfect number gathering the pulse of the universe through each of its symbolic definitions in the sacred symmetry that embodies all life She thanked her sponsors the Union Bank of India and Mahindra Finance fir their support in reaching out with the divinity of three.
Classical colouring of Three – THRAYAM at NCPA , Experimental Theatre,Mumbai curated by Kalashri Dr Lata Surendra