Anamica(Association for a North American Mosaic for Indian
Classical Arts) is a non profit organization that is barely 2
years old having been established in 2004, and already, its fast
building a reputation for showcasing spectacular presentations.
The last presentation in Kathakali ended up on Broadway, and
this year on October 21st, the organization brought the stellar
Cleveland Cultural Alliance production, ‘Ekaantha Seetha,”
choreographed by the legendary couple V.P. and Shantha
Dhananjayan.
The production showcased the lives of three women, Lord Rama’s
wife Seetha, the warrior queen Rani Lakshmi Bai and Aprajitha, a
girl born and brought up in contemporary India. The three part
production presented in different genre of music and dance links
the common theme that a woman has what it takes to beat the odds
and rise above any obstacle society puts before her, if she
recognizes her own power.
Vaidehi,(one of the many names of Seetha) the first segment
opens at a point where Seetha is pregnant and Rama forced to
face gossip about Seetha’s chastity, puts her through the
humiliation of an agnee pariksha(walking through fire). Even
after she comes through unscathed, the voices questioning her
purity refuse to die and Rama who believes his subjects own him
more than his wife, condemns her to a life in the jungles.
Instead of a tragic tale of the betrayal of Seetha, the saga is
cleverly turned into the story of a woman who rises above her
circumstances, and raises two valiant sons as a single mother.
Her ultimate triumph comes when her sons outshine her husband
and their uncle Lakshmana in a battle, and when they refuse to
fall at their father’s feet asking instead why they should show
obeisance to a man who was a no show in their lives. The
ultimate redemption comes when they turn to their mother and
tell her she is both their mother and father. But that is not
Seetha’s final triumph. That comes when she graciously forgives
Rama, and leaves on her own terms, to be welcomed by mother
earth, leaving him crying piteously –“Why did she leave me?”
 |
 |
| |
|
The refreshing twist to an old tale which thus far had always
eulogized the sacrifice of the parama uttam purusha( the most
stellar amongst men) Rama-who gave up his wife and family to
serve his people, now shows the audience a new angle-that it was
Seetha who was grace under fire and fiery when disgraced. She
lived life on her own terms, raised her sons and did a mighty
good job of turning them into world beaters, and was a single
parent in an era where women walked seven steps behind their
husbands. She left on her own terms and in a strange way, Rama
became famous because of Seetha, whether it was in showing his
prowess by breaking the bow of Shiva to win her hand, or whether
it was destroying the mighty Ravana to win her back.
When the earth accepts her back in her womb, because Seetha
refuses to go back with Rama, all he can do is cry pathetically
and say-why did she leave me? In essence he is truly lost
without her.
In a world today where stories of brides being burnt for dowry
and female foeticide are splashed across the Indian media in
droves every day, it is redeeming to see that Lakshmi Bai who
was born in 1835, was pampered and given all the freedom of a
son by her parents. She learnt to fight, and fortunately her
husband a gentle man loved her and honored her.
The second segment pays homage to Rani Lakshmi Bai, who was
immortalized by the phrase-Khoob ladi mardani, woh tho Jhansi
wali Rani Thi (She fought like a valiant man, this Queen of
Jhansi). Well, in truth, she fought like the woman she
was-rising against the mighty British with a heart that was as
strong as her steely will, when many a man quaked in fear. What
people forget is that she was only 23, when she died fighting
fearlessly, marking what was India’s first battle to freedom.
Even the British saluted her integrity, ideals and courage. She
was indeed more of a man than many a man was.
The third presentation was set in contemporary times, and traced
the life of Aprajitha, a young girl who is idealistic and is
fortunate enough to be taught by an enlightened guru that a life
that has a broader vision, knowledge and freedom is a life truly
lived. But just like many women before her, obstacles to her
growth are placed by her own mother who wants her to walk the
trodden path and get married instead of filling her head with
unnecessary nonsense- for too much knowledge clutters the mind.
It is when her husband has an accident that leaves him paralyzed
that Aprajitha decides to step out and work. She is encouraged
by her husband’s friend who shares her dream and encourages her,
only to have people gossip. She is shunned and humiliated by
society but her guru steps in and with his encouragement, she
refuses to let her spirit break.
Eventually the very people who ridiculed and shunned her come
around and support her. She answers the question put to her-will
she live up to her name-Aprajitha-the one that remains
undefeated? She does with steely resolve, grace and
graciousness.
What stands out in the entire play is the choreography done by
the legends of Kathakali and Bharatnatyam, the Dhananjayans. Not
only did they mix several dance forms to give the audience a
glimpse of a rich tapestry that Indian dance and music
possesses, they presented each segment in a different genre from
classical to folk to contemporary music, while remaining within
the realms of classical traditions and classic stories.
The script was crisp, and tremendous attention was given to
every aspect of the presentation. English was used to convey the
intrinsic aspect of each story along with expressions. Each
segment stood out for innovation, the beauty of the costumes and
outstanding dancers. The casting was perfect, though one wishes
one could have seen more of the Dhanjanjayans as performers
especially since this was their maiden performance in Atlanta.
For Uma Ganesan who is the woman behind the creation of the
Cleveland Cultural Alliance, this is yet another feather in her
cap. Ganesan who started the production company in Cleveland 15
years ago, and still stays deeply involved even after moving to
Chennai, all the hard work of many years has now been rewarded.”
Today whatever production we come up with, is signed on unseen.
The high standard we maintain and the reputation we have created
is the reason why.” Her major challenge is funding, and
financial support, because even a production like Ekaantha
Seetha which had about 20 performers runs to the tune of 150,000
dollars, and there seems to be reluctance on the part of
corporate houses and even India’s premier airlines to come on
board as sponsors.
In spite of that the production company has come up with many
stellar productions with the main stream audience in mind. Uma
adds that the number of promoters wanting to present classical
productions is increasing. “There are several now who realize
the need to provide excellent facilities and support for our
kind of productions. Organizers such as ANAMICA, Ragamala in
Calgary, Pushpanjali in Saskatoon, Ektaa Center in LA, ICMDS in
N. Carolina, ICMCA in Austin, Fine Arts Academy in Lubbock,
cities like Phoenix and Salt Lake City need special mention.”
For Anamica, it was yet another feather in its cap. The
organization lived up to its goal of “bringing quintessential
Indian classical art productions to the Metro Atlanta area” and
“to offer outstanding artists, underrepresented art forms, and
innovative and creative art productions to the Atlanta
audience.”
To know more about Anamica got to
www.Anamica.org. To know more
about the Cleveland Cultural Alliance, go to
www.thehorizons.com/cca
 |
|
| |
|
|
