MEADOWs

THE MEADOWS…. AN UNFORGETTABLE EXPERIENCE!  

The theatre production “Meet Me on the Meadow”, a contemporary Kathak-based ballet by RENU Forum, USA that won audiences across the board, recently came out with a screen adaptation. There was sheer excellence in all forms of arts, and watching this production at home was an unforgettable experience! Honestly, I am an 'uninitiated' towards all Indian dance forms and hence, started watching the show with a clean slate-like mind. But in just a few minutes, it became engrossing and leaving me blown away at the end of show.  I feel inadequate to cover all the artistic aspects of this show. The great Indian Saint Kabir said “ "लिखा लिखी बात अलग होती है और देखा देखी बात अलग होती है" 

But Still, with my humble writing skills, I have tried to pen down the audio-visual experience.

The curtain opens with an entry of Anamika & Paritosh, the protagonists. The glow around them alongwith brilliantly written poetic lines are indicative of what is in store for the audience. The subdued purple background suited Raag Jana-Sammohini’s  melodic alaap on sitar, followed by a superbly composed Tarana. The emphatic beginning with a syllable ‘Ta’ (ता) on the 9th beat of Madhya laya Addha taal and then ( off beat) anaghati  ताना देरेना  after ‘Sam’(the very first beat of Taal) was a  trigger for the rhythmic dance that followed.  The interludes of sitar offered enough latitude for the dancer Sharvari Jemenis to show her ingenuity through rhythmic movements, nimbleness and artistic poses in Kathak. The classical musician in me has toyed up with Addha Taal umpteen no of times in the past. But here, it was a revelation to see the wide variety of interpretations of each beat of this taal. To an extent, that I got a feeling of having missed learning Kathak.  The selection of white, light purple & indigo background colours underlined the सौम्य रस (subdued flavour) of Raag Jana-sammohini. In contrast, the warm gamboge yellow costume color of the dancer made the composition 'picturesque'.  This five minute opening dance was staged to generate a joyous ambience on a (Vrindavan like) Meadow. A well-orchestrated one, promising a five-course meal ahead!

The Radha-Krishna story essence was then narrated in a euphonious male voice-over on the background of black and white paintings (Much in contrast to the otherwise colourful lighting backdrops!). The metaphorical story of Anamika-Paritosh followed, preparing the audience for the play. This introduction presents the characters in graceful rhythm-synchronized slow movements (लय). The artistic limelight focus on Radha Krishna looked simply stunning on the dark background. The costumes were equally attractive.  ‘A divine female energy..’ was a perfectly coined phrase for Radha! The implied message here is...The legacy of Radha Krishna love story from Dwaparyuga continues in KaliYuga as well. The purest form of love with no touch of mundaneness and Anamika-Paritosh appearing as Radha – Krisha incarnates. “One notices that these names don’t appear anywhere in the play. Like many other elements in the play they are just symbolic of the timeless girl-boy spirits – Anamika, as her name suggests, and Paritosh, her prize !!”- Says Director Anita Kulkarni, giving another philosophical line as “If one rises above the pain, the love becomes celebration!" Anita’s script indeed takes the show to another level.

In the title scene, when Paritosh takes his first entry, the lights  emanate the colours of a peacock feather as if to show a semblance to Krishna. A lilt of his Bansuri, is a harbinger of his imminent arrival. And then they get into a rhythmic dance to signify their platonic love. Their rich costumes showing a sacred touch, transporting us to the mythological era. On the Meadow,  scenes like proposing to Anamika, their blossoming love, their sweet exchanges, his caring for her,  being around a bonfire in a freezing cold, cajoling and courting each other - all wonderfully expressed by the two leads with an engaging body language, mudras and postures. Their tender emotions were embroidered by Anita’s superlative poetic lines.

The music is specifically written for each scene. A soft tune on piano in Raaga Yaman for instance, spreading divine happiness, leads to a beautiful Tarana and group dance of Gopis. A jugal-nritya (dance duet) follows this celebration on a very innovative composition of mixed Ragas based on ever nostalgic bandish एरी मां, सकल बन गगन पवन चलत in Raag Khamaj Bahar (originally sung by Late Pt. Jasraj in LP).  An enchanting tune with a fusion-like 4-beat cycle allowing innovative dance steps.

Next, the DUO danced to the Tarana tune of raga Madhukauns, a dance to show a blossoming love. Padhant is recitation of rhythmic syllables, known as bols.  A wonderful Padhant (by Nikhil Phatak) added a flavor of its own. This dance with bols, spectacular footwork (पदन्यास), Tihaies (तिहाई ) followed by a male dance solo was a treat to the eyes. Ayan's footwork was exceptional, considering the weight of the ghungru. Dancer Ayan Banerjee in wonderful cherry-red costume performing on catchy Tukdas with his agile movements. I particularly liked his balanced ‘stances’ or 'poses' after ending of each tukada. (Tukda is a short composition of  bols strung together).  I recalled my brief personal interaction with Ayan during a practice session wherein he explained some essential features of his learnings from Late Birju Maharaj ji. I could relate it to his actual performance. Chakkars (spins) have their own charm in Kathak, making the experience 'complete' in a way. Just at this point, when their love is at its high point, the dance fades out on a low note with his announcing that there will be a separation soon. Anamika was clue-less about this. It came as a shock – to her (and so to us in the audience). But that’s a twist in the drama, the story. A high point, leading to a meltdown for the dejected her. The play takes a melodramatic turn here.

Sharvari displayed her subtle emotions exceedingly well. Cinematographer Rohan Kenjale has captured the moments very closely. The play is also a theatre production, but in such acting scenes as this one, we as audience are at an advantage on a screen media due to close-up shooting. Anamika’s embracing philosophy as she is going through life is portrayed beautifully by Sharvari Jamenis. Jamenis is an accomplished dance artist, who capably shoulders the Radha-Anamika double role elegantly dispensing a message for us to evolve, to grow, to liberate in love. Indian arts are meant to elevate us spiritually.  When the show was recently presented at the 22^nd BMM Convention in Atlantic City, USA, some audience mentioned it as a spiritual experience. Am not surprised to hear this response.

The traditional Kesariya dadra in raag Mishra Maand very much appealed me. A perfect fusion piece for her whirlwind thoughts! The light effects and the poetry added depth to this expression. “Aquamarine sorrow…..” OMG..!! The choice of Anita’s words is simply terrific. A group Gopi dance on the fusion Tarana in Raga Jog, composed and sung by Anita, follows. Here, most of the nritya is set on the anaghat (Off beat) principle of Tala, making it subtly beautiful.  (I remark here that Anita’s artistic taste lies more in subtleness rather than making it pompous or obvious). The consecutive two Gandhar notes in raag Jog make this Raag a special one. The ending (न्यास) with various alaps on Shuddh Gandhar generates karun rasa which suited the sad context.  The superimposed Sitar piece on this tarana was simply a marvel; in one way, a demo of  how a Raaga Rasa can be intensified by plucking of Sitar strings.

As we grow, our interpretation of any Raag might change. Raga Amritvarshini making a good example. Anamika is separated from her beloved. Her grief is portrayed via this Raag which is actually a derivative of Maru Bihag. Maru Bihag has abundant Shringar Rasa. With Rishabh and Dhaivat notes removed, Amritvarshini is formed which is employed here to underscore the Viraha-rasa (विरह रस).  The tarana offered the artist a great space exploration and  padanyasa (Footwork). The group dance symbolising shad-ripu (षडरिपु) in black costumes, with the lead artist expressing grief and hallucinations certainly deserved a huge applaud! I had witnessed practice session of this part. What an enormous effort and sweating has gone into this performance !! Especially to meet high standards set by Anita for almost all the artistic aspects of the show – be them an actions, movements, synchrony, costumes, stage presence, background lights, background music score, facial expressions and what not.  Hats off to Sharvari and her team.

A piano tune in Raag Nat Bhairav sets a perfect tone for a sombre scene of Paritosh. Was his war battle  as inexplicable as their transcendental love...?  Anita narrates this poetically with her lucid diction. His battle with evil was shown symbolically on screen in the form of action shadows.  The change of medium has its own impact. The shadow play of Lord Krishna and the Evil might be a mix of Kathak style, reflecting more of a masculine war power. 

Then comes a moment of resurgence of his love towards Anamika. His entry with a background score of Raag Bhupeshwari (other names for the same Prabhat Kali, Raag Bahuli, Raag Pratiksha) was shown in a form of a 'soliloquy' with mixed emotions of love, hesitation  and few bouts of frustration. Somewhere in his conscience, he imagines a stark semblance between his and Lord Krishna's plight, in terms of dilemma mixed with duties & love.  I was very impressed with the dialogue delivery of a voice over male artist, which had a punctuation and the delivery grace.

The story ends in a unique way of remorses and new understandings. The choice of raga for this couldn’t be better than swinging flavoured Jayjaywanti which demands plenty of musical मींड (continuity between 2 different musical notes) and curvatures in its expression. A madhyalay tarana in teen taal sets a rhythm for the renewed emotions. The play ends with a wonderful duo dance and chorus in between – a perfect finale for this exquisite show.

The artistic backdrops of motion graphics and animation in this show are original and unique. They have a story to tell, and a symbolism to be sensed. A nature blossoming implying Anamika’s budding love complemented by screen visuals, for instance. Great and apt use of musical instruments in Music score too. Flute for instance, works great for folk tunes, bringing out a rural ambience. Costumes, and color palette, greatly lift the characters and the story. Flowing pastels in the ‘blossoming love’ phase, and sequinned black for anguish, for example.

Most delicate display of emotions by Sharvari Jamenis with her slow graceful movements and transparent facial expressions. Ayan Bannerjee is the young male talent in Meadow. Ayan hails with the lineage of Late and great Birju Maharaj ji, and he displays all attributes of masculine Kathak, maintaining a grace in his every action and movement. 

Lastly, this article can’t be completed without categorically referring to one name i.e. Anita Kulkarni. A successful architect since years in US/India, she has been passionately pursuing her various cultural interests such as music, painting, writing etc. Here, she is a concept and story writer and also a director of Meadows. She also deserves full credit for her beautiful Tarana compositions, Singing, costume designing, poetry and backdrop paintings. During the rehearsals at Pune, I had an opportunity of watching her as the captain of this show. She was able to guide and address all aspects of this production to bring it to her own high standards. 

Kudo’s and all the very best to Anita, and Team Meadow!

 

Vikas J. Katre, Thane ( India)

Cell: 9833610875