Female empowerment in classic dance
A new Indian classical dance show embodies the qualities of goddesses with that of the women of today to reflect on empowerment, writes Subhadra Devan
EXPLORING an understanding of the dichotomy between the concept of the exalted goddess hailed in religious spheres and her space as a woman in today’s sociological environment is the story behind the classical Indian dance performance, Aadya.
Says bharathanatyam dancer and teacher Ajith Bhaskaran Dass when met recently in Kuala Lumpur: “Ironically I explored the goddess theme in my first self-produced company production in 1994 — called Brahmashri — which was staged in Malaysia and Canada.
He adds: “Twenty-five years later, I am reconnecting with the same concept. But my connection with the goddess has evolved, just as I have grown with my chosen art form.”
Ajith, the artistic director and founder of Johor-based Suvarna Fine Arts dance academy, is presenting Aadya with a dozen of his dancers, in collaboration with violinist Achyuthan Sashidaran Nair, who is also celebrating his silver jubilee in the classical music arena.
“Some of the dancers have trained and performed with me for the past two decades. Three are senior dancers who are also faculty members of Suvarna — Vijay Chandran, Suzatha Suppiah and Ananthemalar Durairaj,”hesays.
This elaborate production is about Aadya, the primordial being and the supreme energy behind all manifestations of goddesses in the Hindu religion.
TIMELESS VIRTUES LINKED TO CONTEMPORARY LIVING
The references for this production was culled mainly from the Devi Mahatmyam (Glory Of The Goddess), which was written between 400-600 CE, and a part of the Markandeya Purana, a sacred Sanskrit text of Hinduism.
Ajith, 50, is offering not just the ancient mythological stories and timeless virtues of the goddess but is attempting to connect it to today’s understanding of women and their role or roles in society with the varied symbolism behind it.
“I look at the goddess now as an iconic symbol of female empowerment. My focus is to look at ancient texts such as the Devi Mahatmayam and discover new sub-texts within those sacred and inspired lines and verses,” he says.
Giving an example of his endeavour, he adds: “If the goddess is described as the ‘One with many arms’, I see it as a connection with how women are able to multitask, for example, as a career woman, wife, mother and more.”
The production will feature four segments, beginning with the prologue that introduces the unmanifested cosmic feminine existence called Aadya. He explains: “This manifests into three channels of energy to support mankind, power, prosperity and philosophy, which in turn are given a feminine form to help man focus on these cardinal energies, Durga (Power), Lakshmi (Prosperity) and Saraswathi (Philosophy).”
“The three energies are combined to form a Supreme energy, a leader or a Queen to guide man. The Supreme leader now embarks to create her government of various leaders and members of her governance. Various deities manifest in multifarious forms with a million names and are enshrined as goddesses in temples all over the world. This is to help keep mankind from self-destruction.
“Dance wise, this piece is a magnum opus that describes the form and the enshrined temples of over 32 goddesses (deities),” he says.
Aadya will end with how the Supreme leader cannot stop mankind from selfdestruction, with greed, lust and thirst for power and control.
He adds: “Thus comes the destroyer, Adi Shakti, while greed comes as demon Rakthabeeja. Much like evil forces around the world now who form alliances to suppress the people.” Lastly, the unmanifest Aadya finally dissolves into nothingness. And then the cycle continues.
MELODIOUS MOOD-BUILDING
The show will feature an original music score by violinist Achyuthan Sashidaran, better known as Sashi. The sought-after musician says: “Musically, the raagas (melody framework) were carefully chosen to suit the mood of the production.
“Every raga was selected based on the characteristics and embodiment of the goddess. Some rare ragaas are used to create different feels. That very embodiment is the one that inspired me musically, which is translated through various musical instru- ments such as the violin, veena and special rhythmic effects from the ganjira (Indian one-sided percussion instrument) and drum pads; which I composed, orchestrated and directed,” he says.
Sashi, an IT graduate, leads a musical ensemble comprising vocalist Nandakumar Unnikrishnan, nattuvangam (rhythm master) Guruvayur Usha Dorai, Theban Arumugam on mridangam, percussionist Muthuraman and Swetha Prem on veena.