Apsaras Dance Company’s ‘Anuradha’ depicts Radha’s journey from gopi to goddess

Apsaras Dance Company’s ‘Anuradha’ celebrated the personality of Radha as a Gopi and Devi. , Photo Courtesy: Srinath M

Apsaras Dance Company Singapore recently premiered a dance drama ‘Anuradha – From Gopi to Goddess’, celebrating the personality of Radha. The show was presented by Kalavahini Trust and Karthik Fine Arts.

Artistic director Aravinth Kumaraswamy says: “Radha’s journey from an ordinary woman to divinity fascinated us. We have used the works of Othukadu Venkata Kavi, Swathi Tirunal and Geeta GovindamThe music includes sarod, sitar, sarangi and tabla.

The musical soundscape for the show is by Bombay Jayashree Ramnath, with Rama Vaidyanathan as the creative collaborator for the dance. The sound design is by Sai Sravanam and the choreography is by Mohanpriyan. Seema Hari Kumar, Shivangi Deck Robert, Deva Priya Appan and Mohanpriyan Thavarjah were the dancers.

A Kathak dancer narrated the story of Radha and her love for Krishna. , Photo Courtesy: Srinath M

A Kathak dancer was the storyteller/narrator of the story. Radha is introduced in a dream state, where she imagines herself united with Krishna and embraces her friend. She awakens from sleep, searches for Krishna, and experiences various emotions ranging from despair and jealousy to anger upon seeing him with other gopis, reconciles and becomes one with him and becomes a goddess. The situation is reached.

The introductory dance passage depicting Krishna included elements from the Kalinganarthan and Govardhangiri episodes. The interplay of roles between the two using elements like Pitambar Odhani, flute, anklet bells and peacock feathers conveyed the message with precision. , For most of the scenes the communicants followed familiar poetic imagery using lotus and sun, bees and flowers, love birds, clouds and rain.

‘Anuradha’ is a thematic dance performance presented by Apsaras Dance Company, Singapore. , Photo Courtesy: Srinath M

The level of expectations was raised but what emerged was more of a routine dance performance rather than a dance drama experience. The sequences felt like small pieces in a margam rather than a well-woven choreographic ideology. The entry and exit of each of the four dancers, the coronation sequence of Radha as the goddess, getting Andal and Meera into their costumes, the use of stage space and the lighting design left a lot to be desired. The music was pleasant but had no effect on the strings.