Indian classical dance encompasses a rich and nuanced array of relationships, particularly that between the nayika, the central female character, and her sakhi, the often over-looked friend and confidante. This friendship, marked by layers of tenderness, pain, conflict, and compromise, resists easy definition. One such interplay is brought to life through the Kathak-based dance-drama Sakhi Ri, presented by SIFF Young Artiste. Through an engaging coming-of-age story, this production delves into the relationship between a Nayika and her Sakhi, representing her menstrual cycle.
SIFF Young Artiste, an initiative of the Singhal Iyer Family Foundation (SIFF), staged Sakhi Ri recently, shedding light on both gender-specific experiences and broad human emotions. “Life is not always going to be smooth, but what stands true is that they (the Sakhi) are going to be a constant presence,” states Anushka Chandak, a Kathak dancer, choreographer, and faculty member at SIFF Young Artiste. The constancy of the Sakhi made Chandak contemplate other aspects of life that are simultaneously blessings and burdens. “That was the menstrual cycle for me,” she reveals.
Anushka Chandak, draped in red and evoking a woman’s period, the Laal Sakhi, recently performed at Bangalore International Centre. Her performance, marked by expressive storytelling and fluid movements, was met with rapt attention from the audience. Collaborating with Radhika Karandikar, a Kathak artist and founder of Radha Productions, the duo delivered a performance that captivated everyone present.
Radhika Karandikar has always aimed to create productions that cater to younger generations, countering the oft-declaimed notion that classical art forms are dying out. She maintains that the supposed decline is not due to a disinterest in the art form itself but a lack of relatable themes. “People are very hesitant to explore themes like these. The traditionalist circle had a lot of concerns about how this would fit into a classical dance form,” Anushka admits. Despite these concerns, both artists believe Kathak is a versatile medium capable of narrating any story.
“Dance is not just about movement; it’s a language.
. Once you have learnt to use it well, you can say absolutely anything you want with it,” Anushka adds, underscoring the expressive potential of Kathak.
Sakhi Ri unfolds as an emotional rollercoaster illustrating the stages of an “unending friendship”—spanning happiness, worry, embarrassment, grief, curiosity, and anger. The drama, while rooted in womanhood, transcends gender, evidenced by the number of men in the audience who were equally engrossed. The narrative traverses pivotal life stages including adolescence, motherhood, and menopause. Sakhi Ri masterfully blends various rasas (moods in classical dance), such as hasya (joy), karun (sorrow), shringar (beauty), and bhayanak (fear), presenting a captivating performance.
Aman Warkhedkar, the composer for Sakhi Ri, incorporates an eclectic mix of piano, violin, sarod, and flute to capture the diverse experiences of womanhood. From the initial panic and confusion of a first period to the sensuality and vulnerability heightened by instruments like the ghatam and pakhawaj, his compositions provide a rich auditory backdrop. Climactic vocal elements portray the trials of menopause, making for an immersive musical experience.
The soundscape includes instrumental silences allowing the artistes’ skilled footwork to take the spotlight. A particularly poignant scene depicts Radhika anxiously awaiting her period, with her heels’ rhythmic strikes rising in tempo to mimic the ticking of a clock.
Yash Potnis’ expert management of stage lighting further amplifies the drama. Multi-colored footlights flicker during moments of anxiety, contrasting with the steadfast, fervent red that characterizes Radhika’s stormy relationship with her Laal Sakhi.
This collaboration between SIFF Young Artiste and Radha Productions not only challenges the taboo surrounding menstruation but also stretches the boundaries of classical dance. “If we want to spread the art form, we need to think beyond mythology… I want to go beyond traditionalist stories,” concludes Shikha Mathur, a Kathak student appreciative of Sakhi Ri’s daring exploration of underrepresented themes.
Thus, Sakhi Ri is not just a dance-drama. It’s a bold conversation starter, an artistic exploration, and a compelling argument for the evolution of classical dance to encompass contemporary and relatable themes. The production stands as testament to the genre’s enduring power and relevance.
