The continuous quest for innovative themes and concepts in the vibrant world of dance was recently exemplified at the Music Academy by Geeta Chandran and her Natya Vriksha dance company. Their latest production ‘Samagati’, which can be broadly interpreted as a union, introduced the profound philosophical concept of purushartha to the audience.
In this innovative recital, Geeta sought to intersperse the idea of a harmonious convergence through the dance form, masterfully diving it into four vital segments — Dharma, Artha, Kama, and Moksha. Each segment intending to represent the individual objectives that, according to ancient Indian philosophy, are the pillars of human life.
Geeta Chandran conceived the first segment, Dharma, as a personal salute to her Ishtha Devata, Nataraja, the lord of dance. This reverence was expressed through ‘Shankara Jatadhara’, an original composition penned by Pootanery Subramaniam and composed by O.S. Arun. This part of the recital delved into the attributes of Lord Shiva coupled with the representation of the five elements, making it an engaging spiritual tribute.
The segment portraying Artha was conveyed through a purvikalyani jathiswaram by the Thanjavur Quartet. This performance was notable for its rhythmic exploration of adavus and thattimettus, alongside a well-coordinated dance that brought forth the beauty inherent in the pursuit of material wealth and prosperity.
Kama was embodied in the rendition of ‘Maaye’, set in the raga Shuddha Tarangini, originally composed by Muthuswami Dikshitar. The composition itself is steeped in the philosophical contemplation of Maya or illusion, which entangles humanity. Seeking deliverance from this illusory web, Geeta’s interpretation featured captivating puppet-like movements to symbolize the notion that humans are mere puppets in the grand divine play. However, while these visual ideas were intriguing, they fell short of capturing the full breadth of the iconic stature and beauty of the kriti.
The final act, Moksha, manifested a striking opening with dancers progressing towards a spotlight, signifying the universal quest for liberation. It transitioned into a portrayal inspired by Haveli Sangeet — an exploration of the gopis’ longing for the unseen Krishna and their individual journeys toward enlightenment. Despite its engaging start, this segment seemed to lack a clear trajectory as it progressed.
The overall impact of ‘Samagati’ was significantly elevated by the professional approach taken by the entire ensemble. Credit must be given to the lighting design orchestrated by Gyandev Singh, which introduced an array of colors matching the emotions and dynamism of the dance movements, contributing substantially to the performance’s visual storytelling.
Through ‘Samagati’, performed on January 8, 2024, Geeta Chandran and her dance company ventured into an artistic representation of the philosophical core of human existence, encapsulating the essence of purushartha in a cultural extravaganza that resonated with their audience. Each segment, delineated through group choreography, presented a visual interpretation of these universal ideals — a move that demonstrated the intricate bond between classical dance and age-old philosophical wisdom.
While some segments stood out more than others in their depiction and interpretations, Geeta Chandran’s artistic endeavor to transcend mere performance and engage with deep-seated philosophical ideals was commendable. As dancers continue to look for wider audiences and broader themes, such efforts align tradition with contemporary appeal, hopefully attracting a new generation to the rich heritage of Indian classical dance.
