Gracefulness and poise are often qualities assimilated with the allure of swans, a notion elegantly rendered in the dance production ‘Hansika.’ Conceived by Sharmila Mukherjee, a renowned Odissi dancer from Bengaluru, the production demonstrated how the majestic Russian ballet ‘Swan Lake’ could gracefully alight upon the Indian classical dance stage. Julius Reisinger’s original choreography, set to Pyotr Ilyich Tchaikovsky’s unforgettable score in 1877, has endured as an artistic pillar, captivating performers and audiences for over a century. ‘Hansika’ underlines the timelessness of this iconic narrative—the tale of doomed lovers overpowered by an evil curse, brimming with an emotional spectrum ranging from tenderness and rivalry to wrath and betrayal.
The saga ‘Swan Lake’ is a classic battle of light versus darkness, and the ingenious transplantation of this Eastern European legend into an Indian classical dance framework by Sharmila Mukherjee and her team is nothing short of remarkable. They skillfully melded every element of the production—from music to lighting to costumes—into a seamless, harmonious whole.
The performance commenced with an impressive swan dance sequence that laid down the aesthetic and metaphorical foundation of the show. The ensemble’s dancers, embodying the unity and finesse of a real flock, moved as one organism against a scenographic backdrop of twilight hues over lake and woodland—profoundly setting the stage narrative. The succeeding music brought a stark contrast with its masculine vigor, as two hunters, one being the tormented Prince Siegfried, entered the scene, each on their own quest.
Staying true to ‘Swan Lake,’ Prince Siegfried, under duress from his mother to wed, becomes ensnared in the story’s central romance. Separated from his friend, he encounters Odette by the lakeside, a woman cursed to live as a swan by day. In an inspired twist, the enchantress responsible for this dismal fate is cast as Odette’s envious sister, intensifying the drama and interrelating with grandeur the evolution of their sisterhood and rivalry.
The grace of the courtship scenes illuminates the purity of first love and allows the audience to experience the anguish as Odette narrates the curse’s origin. The subsequent classical Odissi sequences explore the competitive dance between the sisters—an art so central to their story—climaxing in one sister’s descent to malevolence and the invocation of a tragic curse.
Standout moments in the production included the almost-wedding preparations, followed by a deceitful act that seals the fate of the lovers, invoking the perennial themes of duplicity and ill-fated love. Perhaps the performance’s most enigmatic note was the depiction of the Enchantress, gloating over the doomed couple as the narrative reflectively hinted at the ecological undertones—questioning the survival of swans in a world where lakes steadily evaporate.
Acknowledging the ambiguous undertones, Sharmila Mukherjee articulated her perspective on the evolving performance, expressing the pleasure of channeling a childhood fascination into ‘Hansika.’ She revealed that music, painstakingly composed by Praveen D. Rao, was the production’s initial layer. His agile, inspirational process influenced her as she choreographed, setting the stage for the dance even before the ensemble united in rehearsal.
The music of ‘Hansika’ harmonized with the narrative, becoming nearly an actor itself—the pakhawaj, flute, sitar, violin, and vocals cradled every twist and turn, echoing yet evolving from Tchaikovsky’s classical ballet composition. The Sanjali Ensemble’s performers danced with a finesse that intertwined multiple traditions, rendering ‘Hansika’ not only a display of dance fusion but a celebratory showcase of cross-cultural storytelling through the arts.
