Time machines are what I want, to revisit art and ideas

Disclaimer: 1) This is not a review, but a short article on how much I enjoyed a recent dance showcase and my interpretation of the same. 2) All the images are mirror-oriented.

The global quarantine period poses different situations to different people. There are people having to fight at the field, and there are people who need to stay home to help lessen the work of those fighting on the front-line. My prayers are with them as many of us feel helpless not being able to do anything but the latter. The entire situation is disconcerting and many are mentally disturbed. Physical health being the utmost priority, the mental health consequences in the aftermath also brews in the background. One can say to not get affected, but the negative news and the helplessness of being unable to help, can turn the mind upside down.

There is always a solution to work with the mind, to relax and heal it, so as to not trouble oneself as well as others. Samarpana, an NGO started by my University Dance Team senior, Smt. Gayathri, added a much-needed and soothing 1 hour to my evenings this week. Samarpana is a trust that supports artists (both opportunity-wise and financially), bridges the gap between artists and the audience (the Rasikas), extends a helping-hand to the underprivileged, feeds those in need and the list goes on. Samarpana works for the well-being of the society as well as for art and artists. Their objectives are commendable and I really wish it succeeds as it ventures into its wonderful mission, #ArtHeals. Please open the hyperlink to learn more about their campaigns.

During the Covid-19 situation now, Samarpana is conducting a fundraiser campaign for the daily wage workers, those who work in Sabhas and work for artists, along with the workers who will face maximum economic loss. An essential and excellent campaign, Samarpana has invited 7 dancers to give a live showcase on Instagram every evening from 6 to 7 pm from March 23rd to March 29th, 2020. The repertoire has been diverse and informal the past 3 days and I have been ardently watching every session as I plan to do so for the rest of this series.

I fell in love with yesterday’s session (March 25) by Smt. Shruti Gopal, disciple of late Guru Smt. Padmini Ramachandran and Guru Smt. Bragha Bessell. Smt. Shruti Gopal is a Bharathanatyam artiste based in Bangalore and is an integral part of Upadhye School of Dance. She began her showcase with a Soordas Bhajan which stole my heart as she gracefully depicted Radha’s emotions when she asks Krishna to exchange their roles in life. Radha asks Krishna to let her play his flute once, to adorn his pitambara garment and his peacock feather, to let her block his path as he walks around Brindavan to sell curds and butter wearing her bindi, her scarf and saree. Radha insists that she will play his flute as soulfully as he does. Toward the end, before he gives her the flute, Radha notices how Krishna’s face suddenly looked like hers and she immediately checks her reflection in the water to notice her face, now a look-alike of Krishna’s. Her build up of emotions from this point leads to my favourite moment; Shruti Gopal expresses a jolt of joy mixed with disbelief and wonder as she, as Radha, holds the flute like she wants to memorize every nook and corner of the flute.  It is definitely a rare kind of bhajan. I was astounded by the significant meaning of the bhajan. The idea of this bhajan resonates with the ongoing struggle of equality between women and men, which was what the original movement of feminism represented. Soordas who lived during the period of 15th-16th century, had already conveyed the idea of feminism in such an intricate and poetic manner. Shruti Gopal brought out the inner emotions that a girl feels as she wants to explore every opportunity without defining it as that belonging to men or women. This brings me to the thought of how ideas have actually remained constant through life in this world, but we seldom realize this due to ideas being conveyed in varied forms. Life is thus constant as it is varied, isn’t it? Do let me know when you find other analogies like these! 🙂

Shruti Gopal, as Radha, basking in the bliss finally holding Krishna’s flute.

Shruti Gopal, as Radha, asking Krishna for his flute.

(Images: Left, Shruti Gopal, as Radha, basking in the bliss of finally holding Krishna’s flute. Right, Radha asking Krishna for his flute. More images to follow.)

Shruti Gopal further performed a Kannada Bhavageethe penned by Sri Sirish Joshi and tuned by Smt. Manjula Joshi. The sahithyam (lyrics) elaborates on the distress of the world being destroyed so gradually, its innocence being ripped off as we exploit the world as humans. It was hard-hitting and I could feel myself reverberating her emotions as she emoted every line to its depth. The mellifluous music was rendered  by her husband and Bharathanatyam artiste, Sri Parshwanath Upadhye who I had the happy opportunity of meeting at a workshop at my University during an intercollege fest.

Before she concluded her session with a Q/A portion, she danced two verses of a favourite Ashtapadhi of mine that I have watched my mother dance a number of times.

Sakhi hae.

Ashtapadhis are Sanskrit Hymns from the Gita Govinda which were composed by Jayadeva in the 12th century. Shruti Gopal passionately portrayed the intense feelings of love Radha has for her Krishna. She extols Krishna’s feats, her desire for his companionship and asks her friend to bring him to her. In the next verse, Radha tries to go to Krishna’s house in disguise to seek his presence. Shruti Gopal also performed 2-3 lines from their well-known dance production, Abha.

I am grateful to both Smt. Gayathri and Smt. Shruti for yesterday’s evening which left me content and with so much to think.

Keeping the distressing situation in mind, I request those who find it possible, to please donate to the fundraiser in support of those really in need. The information on how to donate is available on Samarpana’s official website.

(Images, from left to right: 1) Radha, anticipating Krishna’s flute. 2) Radha, as she receives the flute, wonder and disbelief. 3) Radha, holding the flute close to her with respect and love for it. 4) Devi, in the Bhavageethe as she looks around disheartened by the wrongdoings in the world)