There were times when some famous “jugalbandis” failed to impress audiences too both in the world of Hindustani and Carnatic music, as well as in different dance forms. I can see the same feeling in dancers of other forms, and this, I think, has been the best outcome of Charishnu. Balakrishnan, who has practiced Kathakali all his life says, “Participating in Charishnu made me understand classical dance forms other than Kathakali. For it is in the choices they make that the cultural life of the city is defined.H.The prime movers and the artistes she chose then have not been replaced since by any other group in those forms. Speaking of Charishnu, Nilima Kilachand of the Sahachari Foundation said, “Back in 2009, our opening event was Charishnu — the desire to move. Vikku Vinayakaram says, “In my view, Charishnu is one of a kind.” Mangaldas has, inadvertently, found ways to reinforce her own learning: “Besides presenting my own piece, I have stood in the wings and seen great artistry unfold, in a variety of forms — music, colour, structure and literature. Vinayakaram, son of the illustrious T.” The second piece was more challenging.”This show is a sublime sangam — it has to be said that lighting and soundscape play an important part in presentations that have both live sound and pre-recorded sound.With Charishnu, however, things have been a bit different — the response of the audience has been very encouraging. It is the organisation, after all, that has a finger on the pulse of the viewers around them, who are drawn to their shows. With this collaboration, I really admire and respect our great heritage in the varied dance forms of India. I have been able to learn something from each and that has helped enhance my own dance,” she says. Together they bring back this mega Indian classical dance production. While in the Rasaleela, the lyrics used are from Jayadeva’s Geeta Govinda, the dance forms of Maibi and Thang-ta are accompanied by the sounds of drums and the pena — a string instrument,” she says.”This year is very special for the National Centre for the Performing Arts as it celebrates 50 years of service to the arts. Kathak led by Aditi Mangaldas — one of the finest Kathak dancers of our times. They are now like a family where the individual dancers and original choreographers in those styles are not bigger than the production itself.Sandip Soparrkar holds a doctorate in world mythology folklore, is a World Book Record holder, a well known Ballroom dancer and a Bollywood choreographer who has been honoured with three National Excellence awards, one National Achievement Award and Dada Saheb Phalke award by the Government of India. There were times when Yamini Krishnamurthy, Sonal Mansingh and Uma Sharma also made appearances together. Odissi led by Padmashree Aruna Mohanty — a Sangeet Natak Akademi (SNA) awardee. Kathakali and Mohiniattam led by Sadanam Balakrishnan — SNA awardee and master of Kathakali. But the journey is not complete, the desire still moves on. Charishnu — as they named the production — means “the desire to move”, and has since been performed at regular intervals both in India and abroad to huge appreciation.”Bharatnatyam by Padmashree awardee Leela Samson, who was also the chairperson of the Sangeet Natak Akademi and the Censor Board of India. It is only right that they give much thought to the solo, group or large ensembles of music, dance or drama that they will host. Let us also acknowledge Sahachari in their quest to do their work while acknowledging and supporting the arts. All of them are given their due creative space as they present themselves in their distinctive costumes with their unique percussive support in all the grandeur and the precision that are their hallmark. This is what makes my Charishnu special. And when they watch each other perform, they are inspired. The NCPA is a unique arts centre nurturing the dreams of artistes across five genres — Western and international music, Indian music, theatre, photography and dance. As it celebrates a decade of service to society, promoting the arts and culture through some 45 original, eclectically curated, cultural programs staged in collaboration with the NCPA. That NGOs and philanthropic organisations choose to support the arts is defining in itself, but the fact that they are collaborating with the NCPA is a win-win situation for all. The best thing — the review about the show is that the audiences feel Charishnu is a show that makes them feel “proud to be Indian”.The conception of Charishnu began over a decade back when in 2007, Padmashree Leela Samson was asked by the then ministry of tourism to create a production that would include several of India’s dance forms. It was for the opening of an India Tourism Office in Shanghai. “It is a presentation of the pre-Vaishnavite tradition of Lai Haraoba and Thang-ta, the ancient martial art form of Manipur. It does not try to iron out differences, but instead it celebrates the uniqueness of each style.
This production is an iconic group work, where Leelaji has woven Bharatnatyam, Odissi, Manipuri, Mohiniattam, Kathakali and Kathak along with live drumming and the martial arts Thangta.Speaking of Charishnu, Aditi UFO High Bay Lights Factory Mangaldas says, “This is a dance production which has short vignettes of many dance styles from India as well as a percussion interlude. Manipuri classical dance and Thangta led by SNA awardee Priti Patel and martial arts expert Imocha Singh. This spirit of Sahachari, always walking together, emphasising the confluence of divergent streams in the arts, underlies everything that Sahachari does. In India too, sabhas and most cultural organisations work in much the same way.” She further adds, “This infection spreads through everyone who is a participant, one sees a new face in each group from time to time, but they catch the import of the others and raise their game for the presentation. I hope many more small and big organisations consider this option.com. Everyone thought of original music for the production. Thereafter, Leela Samson knit the forms together,making them meet each other in a way that made for a seamless production. Speaking about this extraordinary show, renowned Odissi exponent, Swapnokalpa Dasgupta, head-dance programming at NCPA, said, “What makes Charishnu unique is the constellation of icons who have collaborated with the legend Leela Samson. This year the NCPA celebrates 50 years with some exceptional performances such as Charishnu. Exposure to all the forms and a new familiarity with each other did exist, but each dancer was so preoccupied with the long training and performing of their own forms, that they had limited time for collaborations. Since then, over the years, Sahachari has consistently and boldly forged forward to deliver on its opening promise. Each of the dancers carry the responsibilities of their own group choreographies independent of Charishnu, apart from the institutions that they individually run.There have been many collaborations by various artistes in the past and in the present too. It is home to one of the finest professional international symphony orchestras of the country and has been a temple of good quality arts for decades. In the past, it was exciting to see the coming together of Kelucharan Mohapatra and Birju Maharaj, and, on the odd occasion, Mohapatra and Kalanidhi Narayanan too. This journey has been rewarding for the ladies walking together, and impactful for all those whom the Sahacharis have touched. Backed by the heartening personal involvement of the Sahachari ladies, its revenue lends support to more than 20 NGOs in diverse fields, from the education of children, to healthcare, socio-economic upliftment and animal welfare, also bringing the arts to schools serving underprivileged children. She immediately thought of dancers whose work had created waves in their respective forms and who would be willing to participate in a joint production under her able guidance
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