|
|
|
|
Chandralekha |
|
Chandralekha is a dancer-choreographer based in Chennai (Madras).
After training, in the early 1950s with the famed Bharatanatyam
teacher Guru Kancheepuram Ellappa Pillai, she became one of the
leading soloists of her time. In the 1960s she moved away from the
performing scene. In the twenty-five years interim until she returned
to the performance arena her chief involvement was with writing
and designing, as well as with the human rights and the feminist
movements. Her works include Angika, Lilavati, Prana, Sri, Yantra, Mahakal, Raga, Sloka and the latest Sharira. In the United States
her work has been presented at the Jacob's Pillow Dance Festival
and St. Mark's Cathedral. In 1998 Raga was presented at the Brooklyn
Academy of Music's Next Wave Festival. A major book on her and her
work, Chandralekha: Woman, Dance Resistance by Rustom Bharucha,
was published in 1995 by Harper-Collins, India.
Selected
Objects
|
|
|
|
|
|
|
Railing
Pillar with a Woman beneath a Tree (Shalabhanjika)
India, Uttar Pradesh, Mathura area
Kushan period, 2nd century
Sandstone
H. 30 3/4 in. (78.1 cm); 1979.1
|
Five thousand years
ago, archaic and amorphous beliefs crystallized into systems of symbology
and iconography. The rich iconography of female figures-Shalabhanjika-reflect
subterranean notions of fertility.
The worship of fertility
goddesses goes back to the dim period of prehistory, to the culture of
river civilizations-Mohenjodaro and Harappa.
Shalabhanjika is seen
as a fecundity principle. Plants and leaves spring forth from her tree-like
body.
She says:
Next ye gods I shall support the whole world. With the life sustaining
vegetables- Fruits and flowers. Which will grow out of my own body.
Tribals sing of her
as one who is the essence of seed:
Now as she stood
Naked on the earth. Trees sprouted from her toes. And leaves Like the
leaves of a wheat field.
|
|
|
Seated
Woman
India, Tamil Nadu
Pandya period, 8th-9th century
Granulite
H. 67 in. (170.2 cm), W. 34 3/4 in. (88.3 cm); 1979.16
|
This Pandya woman
bears an uncanny resemblance in size, stature, and appearance to the milk
woman in my neighbourhood who hustles and bustles in the dark of early
morning, gets her cows and buffaloes ready, cooks grain and husk for their
meal, fills their water trough, and sweeps the floor clean. She then washes
their udders and sits down with a tall brass can pressed between her knees,
squeezing into it the foaming, frothing warm milk. Her posture is remarkably
like the Pandya woman.
The iconic postures
in these stone or granite or bronze human figures spanning centuries have
constant reference to as yet living practices and point to a mind-boggling
visual and cultural continuity at the level of daily life and body language.
And, across millennia,
whether in the seated Pandya woman in stone relief, or the woman sitting
with her back to us in the Ajanta frescoes, or in the delicate Harappan
female figurines, we can trace this link. It comes then as no surprise
to me that such body postures now spontaneously enter my own contemporary
choreographic work. These are postures belonging to the physical vocabulary of a common cultural pool.
|
|
|
Shiva
as Lord of the Dance
(Shiva Nataraja)
India, Tamil Nadu
Chola period, about AD 970
Copper alloy
H. 26 3/4 in. (67.9 cm); 1979.20
|
Shiva-Nataraja's ananda
tandava is among the most widely depicted and interpreted compositions
in the classical South Indian dance repertoire, with abundant and copious
textual and sculptural references. The research work for my 1995 dance
production Mahakal (Time), made me take a closer look at the Nataraja
symbology for insights into this timeless image of classical equipoise.
The primary question, of course was, Why did the Gods dance? For better
comprehension of the form and kinetics of this 'Lord of the Dance', I
studied hundreds of Nataraja icons. It became clear that while the sculptural
detailing of the dancing deity had been virtually standardized and perfected
into an iconographic consistency, there was exciting diversity and vari
ation in the casting of the little crawling figure below Shiva's foot.
It is to control and regulate this dwarf-demon, Apasmara, symbolizing
egotism, ignorance, and sullen arrogance, that Nataraja dances.
In the fantasy of
the ninth and tenth century bronze-casters, every Apasmara assumed a different
gestural form and sculptural weight. They were able to build in an exquisite
tension between the upturned, agitated, agonized figure pinned to the
ground by Nataraja's balancing foot, fixed in a slippery, stubborn mood
of escape, and Nataraja's expression of bliss (ananda) at fulfilling the
purpose of his dance-to contain the dehumanized forces through the energy
and awakening of dance, and restore balance to the universe.
The idea of integrating
this crouching, distorted, prone figure of the dwarf-demon in my choreography
was, in itself, an unconven- tional and contemporary direction for me
as it necessitated opening out an area neglected in our classical dance,
the floor level. It also enabled a direct addressing of contemporary issues
of false consciousness. Most importantly, it enabled me to present the
icon in its totality and draw attention to Shiva Nataraja's precarious
balancing act which infuses dynamic tension to his form, while celebrating
the sheer joy of combating negative energy.
|
|
|
Parvati
India, Tamil Nadu
Chola period, early 11th century
Copper alloy
H. 35 in. (88.9 cm); 1979.19
|
I
have ever marvelled at a common principle that connects women and bronze
or sculpted goddesses in India. They express identical body language. Both
have the knowledge of how to break the verticality, the linearity of the
body through the principle of three curves (tribhanga). It is a special
way, technique, of breaking the bodyline and shifting the weight, a recognizable
physical attribute throughout the subcontinent. Parvati is also everywoman.
|
|
|