Indian Dance - New Approaches
by Reginald Massey
It is rare to encounter an artist from South Asia who is capable of infusing an ancient form with fresh ideas and enthusiasms in an aesthetically satisfying and acceptable manner. Malavika Sarukkai is one such. When I first saw her perform many years ago I formed the impression that as a dancer she would do well if she adhered to the margam, the traditional format of south India's classical Bharata Natyam style. But things changed. In 1986 she decided to pursue 'a plurality of approach' (her words) and has since moved from strength to strength. Her art now is an act of affirmation. Indeed, she is much possessed by affirmation - based not on the jargon of dance theorists but on the firm foundation of gruelling work with some of her country's leading gurus. At the same time her intelligence and dazzling beauty have, it must be conceded, not been a hindrance to her artistic development.
The centre piece of Sarukkai's programme at London's Commonwealth Institute on October 27 was based on the amazing life of Timakka, an impoverished woman still living in the southern Indian state of Karnataka. Married off while still young, Timakka was unable to bear children. She longed for a child and her anguish was made worse by the taunts of relatives and neighbours. A barren woman is still regarded as an ill omen in many parts of the world. After many years of painful existence the illiterate woman decided to put her frustrated life to positive use. She bacame a karma-yogini, woman devoted to meaningful action, and started planting banyan trees. She mothered the saplings with love and care and today a total of 247 trees, her 'children', flourish and put down their own roots, for that is what banyan trees do. The heavy branches of the Indian fig often loop down to earth and root themselves thus forming, as it were, another trunk.
Timakka's story was delineated with pathos and passion. Sarukkai's abhinaya, expression, was excellent and a tribute to Kalanidhi Narayanan who taught her abhinaya. Both the poetry and the music were enchanting but it was the supreme dancing, polished as a brilliant diamond, that made Timakka's tragedy-turned-triumph into a memorable experience. Moreover, the subject itself has international appeal; the primal energy of the female principle, shakti, as well as our urgent environmental concerns.
The item
titled Uthkanta (Longing) was evocative and demonstrated some unusual
and abstract ideas. Throughout a great sense of beauty permeated the
original choreography. This was a welcome bonus for, one has to
confess, some choreographers often descent to contortions in an effort
to convey difficult ideas and notions. The cult of ugliness is foreign
to the marvellous Malavika Sarukkai. Her success is noteworthy for
several reasons, not least of which is her capacity to learn from other
Indian classical styles such as Odissi and Kathak. She has also the
assistance of a formidable array of talent among whom must be mentioned
her artistic director mother Saroja Kamakshi, Anikode S. Murali
(nattuvangam, conductor and vocalist), Palghat K. Ranganathan
(mridangam, percussionist), N. Bhagyalakshmi (female vocalist), N.
Sigamani (violinist), S.V. Seshadri (poet and lyricist) and Meera
Seshadri (composer-musician).
Reginald Massey can be contacted at reginaldmassey@yahoo.co.uk
Brief write-up on
Malavika Sarukkai's performance by Association Sargam, organisers of
the event.
If Bharata Naytam for Malavika Sarukkai is a living dance form, capable
of adapting to historical and social change, a 'vibrant and significant
means of communication', "Uthkanta - Longing" is its most brilliant
illustration.
Taking off from the extremely codified grammar of Bharata Natyam, and without a trace of compromise, Malavika presented a panorama of dance items reflecting a truly contemporary inspiration and sensibility, culmination of years of personal research. This stunningly crafted choreographic ensemble was, she admitted, a defining moment in her personal artistic evolution. It was also food for thought for those who were privileged to witness it at the Commonwealth Institute in London on 27th October 2001.
Taking the lotus - symbol of life, creativity and spirituality - as the central image, Malavika covered a gamut of a woman's emotions: desire and plenitude, a longing for maternity, identification with nature and finally the universal and ultimate quest for grace.
She did so through what has now become a hallmark of her talent:- a unique exploration of space through the fundamental geometrical movements - the straight line, circle and diagonal - of Bharata Natyam. This combination of technical brilliance and restrained, internalised yet powerful depiction of emotion placed the audience in the presence of a uniquely innovative artist, acknowledged as one of the most enduring on the Indian dance scene. Malavika was most effectively supported by Saroja Kamakshi (concept and commentary), N. Bhagyalakshmi (vocal), A.S. Murali (nattuvangam and vocal), P.K. Ranganathan (mridangam) and N. Sigamani (violin). A standing ovation for a dancer Sargam is privileged to have presented!
Comments :
"Heard Malavika danced beautifully... was delighted to see her (at the talk at Akademi) and hear her...elegant, assured, of few words and convictions nurtured with experience; saw no posturing and heard no I-am-in-love-with-my-own-voice carrying on'; it was truly a pleasure...that elegance and lightness of being she had when she came to kalli Sir has remained with her, making her delectably elusive even while she is right there. I also realise she does not burden audiences with an in-your-face display of emotional intensity that she must nevertheless feel...the lack of that burden lightens the audience to enjoy her dancing I believe and to do so without fear of an ambush by an outsized feeling as you round the corner of a jathi! Chitra Sunderam (Bharata Natyam dancer, London, UK)