An article in the science and technology section of a national daily, related to a scientific work carried on by Dr Rusi Taleyarkhan, an Indian American professor of Nuclear engineering at Purdue University along with his American and Russian colleagues at Oak Ridge National Laboratory in Tennessee, USA, drew the attention of this feature’s Artistic director.
The scientists designed a table top sized nuclear fusion device, and succeeded in creating sonoluminescence, a phenomenon of creating a nuclear fusion resulting in light using sound waves. The contraction and expansion of bubbles in the hydrogen cavities caused extreme temperatures and pressures to be built up within the bubble, which is comparable to those formed in the interiors of the stars.
Indian thoughts, as reflected in its Philosophy, spirituality and belief, covered this exact possibility of the creation of this universe. Legends were weaved to tell the story that from Nothingness; Shiva manifested into a form and created the elements. He then let the sound waves from his DAMARU , the hand held kettle drum, that triggered the fusion of the elements, which resulted in creation of the millions of stars and their planets. Life forms then evolved. It’s this esoteric meaning of the Indian PURANAS that set the ball rolling to conceptualize this ballet.
The feature “Panchavaktram”, the five faces of Shiva, touches on the belief that Lord Shiva, in order to create this universe, from his original state of nothingness manifests in five forms. In association with his Shakthi he creates the five elements earth, water, fire, air and space. The sounds, which the lord let from his drums, fuse the elements that explode to form this universe and all the beings that exist today.
SPECIALTY OF THE FEATURE
India has seven classical dance styles, apart from innumerable theater, folk and traditional dance forms. In this production three classical forms, a theater, a style that had been lost and now revived, an art form of the nomadic group of Bahuroopiyas has been used to depict the various moods and energies of the five Shiva. The grammar of movements as described in the 2500 years old treatise on Indian theater “Natya Shastra” has been employed in depicting the elements. Thus the spectator is catered on a single platform the diversity of India’s dance heritage.
The sound of Mantras or holy syllables, associated with each manifestation, reverberates across the hall, puts the audience into a state of holy trance. A Tantrik visual image that symbolizes the five manifestations engrosses the audience into a meditative stupor. Fragrance associated with the five Shivas wafts through the air. The assembly is bathed in a glow of colors that one sees in the state of Kundalini awakening. The show thus attempts to lift the spectator to spiritual heights and experience
Artists performing the roles of Shiva and Shakthi are highly proficient in the respective art forms used to translate the essence of each manifestation. The highlight of the show will be the depiction of the elements energy by dancers who are VISUALLY CHALLENGED and who have transgressed society’s discrimination and marginalization.
Curtain Raiser: A short music piece to set the mood for a celestial ballet
POORVARANGA
“Natya Shastra” by Bharath Muni, The 2500 year old treatise on Indian theater, prescribes a ritual be
performed before the commencement of a theatrical production. In this ceremony that sanctifies the
stage, the actors bring the Flag staff “Jharjhara”, invokes the presence of the gods of eight cardinal
directions and plants it in a corner. The artists pray to the gods for the success of the play. They also
pray for the prosperity of the organizer, the writer and the producer. The actors then open
the play for the enjoyment of the spectators.
In the beginning there was void, nothingness existed, and within this nothingness was confined a great
power. The pillar of nothingness was visualized as the SHIV LINGA , within its womb lay the forces
that awaited to fuse and emerge. SADASHIVA , the formless and eternal one in order to create the
universemanifests as PANCHA BRAHMA- the five faced one.
As the first of the manifestation of Shiva , Sadyojata emerges on the eastern face of the formless
linga, serene in countenance, youthful in nature, fair as camphor, enjoined by his power Para Shakthi,
he presides over the three cornered sacrificial alter. The Dark rain bearing clouds are his chariot, and
he brings into form the element earth.
The dance is set in BHARTHNATYAM, the classical dance of South India
As the second of the manifestation of Shiva , vamadeva emerges on the southern face of the formless
linga, graceful countenance, red as vermillion , enjoined by his power Adi Shakthi, he presides over
the four cornered sacrificial alter. The lotus flower is his throne, and he brings into form the element
water.
The dance is set in KUCHIPUDI, the classical dance of Andhra Pradesh
As the third of the manifestation of Shiva , Aghora emerges on the west face of the formless
linga, fearsome , blue in colour , enjoined by his power iccha Shakthi, he presides over
the circular sacrificial alter. he brings into form the element fire.
The dance is set in YAKSHAGANA, the theater art of Coastal Karnataka
As the fourth of the manifestation of Shiva , Tatpurusha emerges on the north face of the formless
linga, handsome, yellow in colour , enjoined by his power Kriya Shakthi, he presides over
the six sided sacrificial alter. He brings into form the element water.
The dance is set in KATHAK style, the classical dance form of North India
As the fifth manifestation of Shiva , Ishana emerges on the upward face of the formless
linga, serene, blue in colour , enjoined by his power Gnana Shakthi, he presides over
the eight sided sacrificial alter. He brings into form the element space.
The dance is set in PERINI style, a dance that was lost in the 14th century Andhra now revived
After creating the five elements, the building blocks of the universe, Shiva and Shakthi becomes one,
each sharing a half of themselves to the other and becomes Ardhanareeshwara. Shivashakthi then
plays the DAMARU and sends the sound waves across the corridors emptiness. The dance is performed in the art of Bahuroopiyas of Uttar Pradesh
NAGARAJ (Mysore Basavarajaiah Nagaraj)
Trained in Kathak Classical Dance, obtained Senior Diploma with distinction in Kathak, performed as lead dancer in productions of reputed choreographers, performed in tele-serials, a graded artist of India’s television channel ‘Doordarshan’, several home choreographic productions to his credit, choreographed several dance features for reputed educational institutions, organizes events for corporate bodies with special emphasis to Indian heritage, been part of fund raisers for the Rotary international, Art of Living, Art Nou.veau, co-ordinates and instructs in dance teaching to the visually challenged and children who live and stay by the streets. Traveled for concerts extensively to North America, Scandinavia, The Gulf and the Far East. Was a visiting scholar to the Michigan State University, USA. Has lead teams abroad on concert tours. A “Yuva Vipanchee” awardee.
Speciality Gives full fledged Kathak performance in KANNADA language, which is otherwise Hindi language oriented. Known for his role as ardhanreeshwara for his innovative presentation technique, also known for his articulate speech while sharing the historical, political and cultural perspective of Indian dance forms. Throws challenges to discerning dance connoisseurs and translates a dance instantly and extempore subject given by them.
Trained in two classical styles Bharathnatyam and Kathak, has done his senior examination in Bharathnatyam. Performed for many reputed choreographers. Traveled for concerts extensively to North America, the Gulf and the Far East. Was a visiting scholar to the Michigan State University, USA.
Speciality
Very talented to the extent of performing two different styles without one influencing the other.Very good coordinator among artists to ensure systematic functioning of the group.
Trained in Bharathnatyam, Kuchipudi, Yakshagana and Perini, this young dancer is vibrant in all the forms. Also to his credit are training in folk dances of India and martial arts. He has done his VIDHWATH in Bharathnatyam, and has obtained Bachelors Degree in ARTS (Choreography), Bangalore University. Has done innumerable stage shows both independently and for reputed choreographers. Performed in Bahrain and Sweden.
Speciality
Highly energetic and enterprising, his multi faceted dance styles are always an asset to theater shows and ballet producers. His knowledge of choreography adds to his versatility in the betterment of a dance production. His knowledge in instrumental music, especially percussion is advantageously employed during the performance. An excellent singer of the Carnatic Music tradition.
Trained in Bharathnatyam, Kathak , folk dances of Kerala, his academic qualification is in Fine Arts (Visual Arts) has given him an advantage for his aesthetic presentation of his art work and a picturesque performance of his dances. His curated art shows have won him accolades from the media and art lovers. His thesis on COLOUR and FORM in THEYYAM and its relation with visual art has won him the Post Graduate Masters Degree in Visual Arts.
Speciality
Nishanth's artistic talent both visual (Stage, Technical & Crafts) and performance is an asset to the production houses where he doubles up as a dancer if need be. His specialization in masks, especially for this production is indispensable
Suparna had her training in Bharathnatyam from a very young age and in the true “Guru-Shishya Parampara”. She stood in the rank of first in her Karnataka education board award of her seniority in the dance form of Bharathnatyam. She is also trained in Kathak dance. She has obtained a Masters Degree in Dance from the Bangalore University and now persuading for doctorate award. She has done her Diploma in Choreography, extensively traveled, performed both in India and abroad, she has to her credit several home productions of choreographic works.
Speciality
Suparna has involved as an associate artistic director in the production of the feature “Panchavaktram “. Her choreography training and mastery of art forms is her advantage point in bringing out the esoteric content of the subject, elevating the spectators to a spiritual experience. Well versed in Sanskrit literature, she has the command over interpretation of dance treatise which she shares with lovers of dance art.
Savita is trained in Bharatnatyam, martial arts, folk dances. She has training in choreography. Widely traveled, she has been appreciated for her crisp, clear and perfect execution of the dance movement. She is in full form in expressing the emotional content of a script most effectively .
Speciality
Savita has worked with the visually challenged and have trained them to a level of professional dancers. Her contribution in the production of the feature Panchavaktram is immeasurable in terms of her training the visually challenged to fit the complex roles they portray. Her presence is a must wherever the visually challenged perform, in order to guide and lead them.
Trained in Bharathnatyam, Completed her senior examination in the same art form. She has done her traditional entry into performance called Ranga Pravesha, and has won appreciation for her virtuosity in dance. Has performed in major festivals across India.
Speciality
Perini Tandavam, is a dance form which vanished in the 14th century. Nandana has learnt this art form that was a prerogative of the male dancers because of warrior like movements. The role which she plays in the feature is very vibrant and she justifies the energy the character is supposed to portray.
Shankar has trained in two classical music styles of India. Hindustani and Carnatic. Each style is significantly different from each other, but Shankar has justified both in his renditions and concerts with ease and purity of the form. His voice is one of the most recognized one in the music field of South India. He has sung innumerable number of songs in Motion Pictures and Television Channels. His classical concerts are always a packed hall. He has taken further, his musical abilities towards music composition, orchestrasation. His uncanny knack to compose music for ballets results in the outburst of emotion by the characters who move to his score. A perfectionist, he now trains several music aspirants in his own style.
Speciality
Shankar has weaned himself from the classic concert towards Bhakthi Movement. His spirit to reach even ordinary men through music is to be lauded. His philosophy is to bring the spiritual experience of music and its hidden benefits to the reach of common men, which was hither too experiences in the closeted atmosphere of the connoisseurs of the art. Shankar through his voice strums the strings of a sensitive listener of Indian music
The five dancers have learnt Bharathnatyam, Kuchipudi and folk dances of India. The five have widely traveled across the country and around the world, winning high appreciations.
Speciality The five are visually challenged. Their ability to dance such a precise form of movement inspite of their blindness is amazing and leaves the spectators wondering about their own achievemts in life. The five have crossed the hurdles of discrimination and marginalization, firmly and successfully planted their dancing feet on national and international platforms. Their dance of the elements in the production Panchavaktram is further amazing for the reason that the movements are all those not seen in the regular repertoire of the dance form, but are revivals of a tradition whose references are more than 2500 years old.
