Panchaatmika—A Harmony of Multi-Classical Dance Forms | IIC Diamond Jubilee

 

Volume XXXVI No. 2                                                                        April – May 2022

Panchaatmika—A Harmony of Multi-Classical Dance Forms

IIC DIAMOND JUBILEE CELEBRATIONS 2022: 

Inauguration of the year-long celebrations Welcome by Shri N.N. Vohra, President, 

IIC Talk by Hon’ble Shri Ram Nath Kovind, President of India 

Vote of Thanks by Shri K.N. Shrivastava, Director, IIC 18 April 2022

The evening performance celebrating the beginning of the IIC’s Diamond Jubilee echoed the spirit of the inaugural address by Shri Ram Nath Kovind, President of India, who said that ‘here divergent views are accommodated with intelligent dialogue’. 

Panchaatmika, conceptualised and choreographed by Parvati Dutta of Mahagami Gurukul, was a harmony of multi-classical dance styles. Shiva, comprising the five syllables Na, Ma, Shi, Va, ya, representing the five cosmic elements, Earth, Water, Fire, Vayu and Akash, was artistically and metaphysically envisioned as ‘realising the five-fold universe within oneself’. Contemplated upon through the revelations of oral, textual and performance traditions, involving the five senses, and through a movement tapestry involving the five-fold rhythmic designs through tala (metric) cycles made up of multiples of 3,4,5,7 and 9 units, the work was a harmonious weave uniting the anga-bhasha of five dance styles— Kathak, Odissi, Bharatanatyam, Kuchipudi and Mohiniattam. 

Starting with sonorous notes of Raag Vibhas (from Bhairavi thaat dedicated to Shiva) with two singers and mnemonics recited with tabla, pakhawaj, mardal, edakkya, mridangam and khanjira percussion, set to khanda jati (multiples of five), sensitive choreography right from the opening scene, revealed delightful group patterns with multi-styled dancers, hands held high in Anjali. Through Adi Sankara’s Shiva Panchakshara Stotram ‘Nagendra Haraya’, homage to ashsmeared, blue-throated Shiva, wearing a snake garland, with Mandakini on his head, holding fire and trident in opposite hands. Raga Natabhairavi, evocative of contrary moods, with Udukkai phrases, ushered in dancers holding metal bowls smoking with incense, conveying the idea of void for the sequence on Akash, a canopy of nothingness defying definition, extensive and all pervasive for Satkhandagama and a vacuum for Dhammasangani. Its seven-fold lakshanas, says the Mahabharata, are enshrined in the notes shaddja, rishabha, gandhar, madhyama, Panchama, daivat, nishaadh. The substratum of sound produced within, Akash is set to solfa passages, and Sankeerna Jati (metric cycle of nine units needing a sum of matras), dancers moving in perpendicular formations signifying travelling sound space. Music evoking the difficulty of mapping voids, uses Dhrupad, Kharaj, Sarangi, mnemonics of Buddhist Bowl marking the ‘sama, with percussion instruments duf, Tarpa, morsing. 

The Natya Sastra traces the origin of Jala Vadya to a Shivagana who, with Viswakarma’s help, created a percussion instrument sounding like rain drops falling on Lotus leaves. Commentator Abhinavagupta described Shiva as Jala murti. Set to tisragati (metric cycle of units of three), and Miya Malhar (the monsoon raga), dancers in graceful steps danced to the sonic rhythm of mardal, pakhwaj, Dug, Khol, Ghatam and Tung Tabla. 2 The Mohiniattam dancer’s entry heralded the sequence on bountiful Prithvi (Earth), dark coloured Mother and life bearer, in white garment, to Chatusra Jati (multiples of four), and raga Jaijaivanti, evocative of joy and negativism. Described in the Vishnudharmottar as endowed with the five perceptions: shabda, sparsha, rupa, rasa and gandha, involving the sense organs, the very basis of all art, dancers move, tracing floor space in a square around a square, the geometry symbolising Prithvi, dancing to the sounds of earthy instruments like dhol with sarangi, udukku, mardal and morsang—an expressional whiff conveying five perceptions of touch, smell, hearing, sight and taste. Symbolising dynamism, powerful but invisible, gloriously riding a chariot in unfettered freedom, set to Misra jati (units of seven), is Vayu, breath of the Gods and life germ of the Universe. Sangeet Ratnakar mentions the part Vayu plays in wind instruments like the flute. Melodious flute music plays a contrast of a definitive misra jati chhand as against just notes in a spiralling enchantment of sound space. Rag Marwa and forceful khandajati (units of five) characterises Agni (fire) the vital force dispelling evil, initiated in the nabhi and rising in an upward triangle to activate mind and speech. Prana and Agni unite in creating Naad. Less than fair to such an aesthetic, painstaking dance venture, was the depleted audience following inexplicable delay in ushering the cultural programme post-inauguration, with daylight killing lighting effects. 

LEELA VENKATARAMAN