SBKK’s ballet productions were based on mythological and historical episodes.

LEELA VENKATARAMAN

Myth and historical episodes, round which Shri Ram Bharatiya Kala Kendra has woven its ballet productions, not only bear revisiting, but often also get enriched in the process of revival. After 56 years of existence, the Kendra can take credit for having given Mayurbhanj Chhau (one strain of the dance, restricted till the ’60s, to the Chaitra Parva celebration, in its locale of former Mayurbhanj State) a vastly enhanced presence with its vocabulary of movements used imaginatively for dance drama productions. A process started by late Chhau guru Krishna Chandra Nayak who taught at the Kendra, Mayurbhanj Chhau has since been the dance language of many of the Kendra’s creations, the revisits with Shashidharan Nair’s choreographic interventions leading to fresh manifestations of old productions.

In “Meera”, the dance language was subordinated to the need for recapturing the Rajasthan ambience. Sharad Kulashreshta’s lighting ideally caught through colours reflected on the aesthetic sets by the late Keshav Kothari, the lush luxury of feudal aristocratic interiors. Ghanagor, Ghoomar, Teratali, Kachhighodi and a wealth of Rajasthani dance traditions in fleeting glimpses echoed the Rajasthani flavour, with the warm music of Shubha Mudgal further catching the flavour of the region to which Meera belonged. Molina Singh made a beautiful feisty Meera. This latest version of Meera choreographed by Shashidharan is a great improvement on what was initially conceived. Shobha Deepak Singh’s costumes and ornaments are tasteful.