The dynamics of dance presentation constantly undergoes change as dancers strive to find new ways of exploring the grammar. Rukmini Vijayakumar is one such dancer, whose focus on the immense possibilities of movements of a dancing body and her pedagogical method of training (Radha Kalpa) has garnered a positive response from young enthusiasts and a large following on the social media. Rukmini’s ‘The Goddess’, a Radha Kalpa production, presented recently at Lady Andal Auditorium in Chennai, highlighted her distinct approach to dance. As the curtains went up, you could see four musicians seated on separate platforms illuminated by light beams. Gradually they fade into darkness, as horizontal beams of light from the wings shone on the dancers moving across the stage. Initially, this sensitive play of light and shade made for a strong visual impact. Thereafter, the creative energies of the dancers knit together the presentation, which was backed by sensitive musical score, lighting design and choreography.
Drawing attention to the core elements of the dance, Rukmini’s work was an interesting exploration of space, where expressions and movements were in complete synchrony. The production was divided into three parts with compositions celebrating the varied facets of power of the goddesses .
Rukmini Vijayakumar with her student in ‘The Goddess’ | Photo Credit: S. R. Raghunathan
The choreography was dominated by high-energy dancing with the performers covering the entire stage with interestingly designed movement patterns. The contemporary touch to the traditional ‘sarpanadai’ in the Bharatnatyam repertoire was impressive. The first composition, ‘Sundari’, where the dancers moved around depicting the alankaram of the goddess like braiding the hair, draping the sari, and decorating with jewellery to the melodic strains of instrumental music was well-conceived.
In ‘Maharagni’ that highlighted the valour of Kali, musician Raghuraman Rajaram had re-imagined the Hindustani bhajan ‘Matha Kaali’, popularised by Pt Jasraj, to suit the choreography. Beginning with gentle movements, the piece depicted the goddess through powerful and intense movements. It reached a cresendo as the lighting silhouetted the dancers holding aloft the dhoop aarti plates. The smoke emanating from it filled the dark space while the tableaux of dancing bodies pulsating with energy and Rukmini portraying Kali with her tongue stuck out made for a riveting final scene.
The transition from stark blue-black dance saris to simple reddish-pink costume, and the addition of jewellery in the final scene, the progressive layers of ahaarya abhinaya was interesting. But the continious vigorous movements of the dancers brought in a sense of ennui after a point. Some meditative moments would have been better.
‘The Goddess’ stood out for its distinct approach to choreography | Photo Credit: S. R. Raghunathan
Blending elements of Indian classical music and western orchestration, the score (violinist Ambi Subramaniam) was refreshing. The soundscape was designed to flow in synchrony with the movements. Raghuram Rajagopalan on vocals, Vinod Shyam on the mridangam and Sunaad Anoor on the percussion and Ambi on the violin comprised the music team. The brilliant lighting design by Gyandev Singh contributed immensely to the presentation .
