DANZ QUARTERLY No 10 December 2007

Reviews

Bharatam by Vivek Kinra
Memorial Theatre, Wellington
14 October 2007
Reviewed by Ann Hunt

It felt like a privilege to see this exemplary performance by Vivek Kinra. A great exponent of the classical Indian dance form Bharata-Natyam, Kinra delivered a masterly performance that satisfied on all levels, technically, emotionally and spiritually.

One of the pleasures of these performances is that, for two hours, the world and its ways are left behind and what remains are the essentials – love, passion, anger and forgiveness. Kinra is expert at displaying these primal emotions and thus brings to life and makes accessible the myths and legends, which are such an essential part of Indian culture. For two hours, there is no divide.

Bharata-Natyam is geometric in its precision and exactness. For centuries the rules have been laid down and adhered to. This structure is part of its charisma, given that today we live in such a chaotic and structureless world.

Some of the dances performed in this programme were choreographed by Kinra himself, while others were choreographed for him by the late Rukmini Devi, who was instrumental in the revival of this ancient dance form, and his primary teacher, Krishnaveni Lakshmanan.

In all the dances, Kinra displayed his mastery of the extreme turn out of the limbs required for Bharata-Natyam exponents (ballet dancers could learn a lot from him), coupled with deep lunges, quicksilver speed and high floating jumps with soundless landings. At times the turn of his head or the lift of a perfectly placed arm, filled the eyes with tears.  His arms resembled arrows, never missing their mark, and gravity held no claim on him.

This was a solo performance, but sometimes, it appeared as if he was dancing a trio with his own two shadows.

Three works comprised the first half of the programme, culminating in the 25 minute long salutation to Lord Shiva, ‘Shivapanchaksharastotram’.  Only a dancer of Kinra’s calibre could sustain a work of this length without alienating his audience.

The second half of the programme was made up of four works and just when you thought things couldn’t get any better, each work built and built, to the beautiful conclusion of the Mangalam.

Whether Kinra is portraying the divine grace and terrifying rage of Lord Shiva, or the grief of the bereft Radha, he shifts effortlessly from one gender, one emotion to the other, taking us with him on this sublime journey. How lucky are we?

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