Above, from the duet Invoking Shiva: Pavithra Reddy and Thanji Dias
Author: Oberon
Tuesday May 9th, 2023 - The Nrityagram Dance Ensemble in collaboration with the Chitrasena Dance Company presents the New York City premiere of Āhuti, a production which brings together the classical Odissi dance of India and the traditional Kandayan dance of Sri Lanka. It makes for an engrossing evening: a captivating meshing of movement and music which transports us to an ancient world whilst somehow seeming vividly contemporary.
Looking over the list of people involved in the production, one name jumped out at me: Surupa Sen (above). My only prior experience of seeing Nrityagram was at Fall for Dance in 2013, in which Ms. Sen danced a duet of her own choreography which left a lasting impression. Surupa was the first student at Nrityagram Dance Village, where she studied under her guru, Protima Gour Bedi, and later became a guru herself. Surupa is now the Artistic Director of the Company, and tonight she was a lovely presence throughout the evening onstage: seated among the other musicians on the floor, stage right, she sang, read the poetic narratives about the various works, and played the manjira - small brass finger cymbals, tuned to different notes, which which add a high-pitched sound to the musical tapestry.
The music and the dancing were truly inseparable this evening: the players, in addition to Surupa Sen, were Jateen Sahu (vocals and harmonium), Rohan Dahale (vocals and percussion), Parshuram Das (bamboo flute - so evocative!), Siba Nayak (violin), and Koshan Mapatuna (Kandayan drum).
Throughout the program, the music's subtle rhythmic shifts and the sounds of the sung/chanted words (the language is, in itself, intrinsically musical) are interpreted in dance with the tiniest details of facial expression, pose, and gesture responding to the narrative.
Āhuti means "offering" in Pali, and "invoking " in Sanskrit; its opening dance, Sankirtnam (a prayer) tells the story of wandering minstrels who sing and dance in praise of Lord Krishna: "Protector of the universe, he is the purest of all beings, The only truth". Beautifully lit, five red-clad women of the Nrityagram dance variously in solo or ensemble passages. Unison movement and gesture is key, and it comes so naturally to these fascinating dancers; their faces express the joy and wonder of believing, and the sound of the flute is entrancing.
The second dance of the evening was Poornāratī, in which the Nrityagram and Chitrasena dancers joined forces; the name means "complete offering" and is an invocation of the powers that govern the universe so that the highest state of being can be achieved. Details of the costuming set the dancers of the two companies apart, and in the work we meet the sole male dancer of the evening: the charismatic Kushan Dharmarathna. This ritualistic dancework opens with slow, stylized movement to the sound of chanting. Varying rhythm patterns alternate a sense of calm with more animated dancing, and the piece seems to end in the fading light...but then there is a sort of encore. The dancers were greeted with enthusiastic cheers and applause. This brought the program' first half to an end.
A magnificent duet, Invoking Shiva, opens with a provocative solo danced by Pavithra Reddy, in which her lyrical port de bras and expressive hands drew us into this work, which honors Shiva, the god of dance...and of destruction. The dancer responds beautifully to the poetry being read by Surupa Sen.
A misty fog now appears in a lit diagonal as Thaji Dias of Chitrasena begins a hypnotic solo (above photo by Shachi Phene). The flute solo meshes with the unusual sound of the harmonium (a small organ) to create a timeless atmosphere, with the stamping of the dancer's feet lending an imperative feeling.
The two women now take turns, alternately dancing and striking poses. They then dance in unison (photo at top of page), the rhythmic beat of the manjira (finger cymbals) alluring the ear; the very language itself becomes music.
The final work, Alap ("conversation") the two companies merge their styles and become one. An amazing fresh rhythm heralds the entrance of the dancers from opposing sides of the stage. A flute melody is accompanied by the double-headed Kandyan drum, and the dancers wear ankle bells, bringing a fresh sound to the mix. Solos spring up for the dancers, then all join in a high-energy finale. They dance off, one by one, but a built-in encore ensues wherein the three Chitrisena and the Nrityagram quintet slowly part company, exchanging ritualistic gestures of parting.
The curtain calls evoked a frenzied applause, and I was especially happy that the incredible musicians each rose individually to be heartily cheered...they certainly deserved it. Finally Surupa Sen rose from her humble place on the floor and was given a warm salute. All the participants now made exquisite formal bows, thanking us and bidding us farewell.
Such a fascinating and uplifting evening...I wish it had gone on and on.
~ Oberon