Celestial dancer
This a blogpost which seem to have remained in draft form for some months. I debated whether or not it was dated and relevant and decided to go ahead and publish it without any modification as the person and her work is something everyone needs to know about, if they have not known already!
Mythili prakash is a celestial dancer as akin to the Urvasi & Menaka of Indra's court. It was an amazing few minutes that I spent with Smitha watching this youngster perform. Spellbound, speechless, enthralled....adjectives have no meaning to describe how she came across to us. Even as I write this after 16 hours of the performance in my minds eye she is still there and her perfect movements her dexterity of footwork her precision and perfection in landing back exactly where she started after a swirl, her arrow like body and her sheer energy.....! Amazing that such youngsters do exist to continue this phenomenal art form called bharatanatyam. The story line she had taken was about three forgotten women from the epic Ramayana, namely Kaikeyi, Surpanaka and Sita and she tried to weave a dance drama around them interpreting their lives in the context of modern women. While this interpretation fell flat as the explanation being offered did not fit with the context nor was the research done about the three women clear, the way the programme was rendered made one forgot about the naivete of interpretation of the respective role of each women in the epic or their relevance to the modern context.
Mythili prakash is a celestial dancer as akin to the Urvasi & Menaka of Indra's court. It was an amazing few minutes that I spent with Smitha watching this youngster perform. Spellbound, speechless, enthralled....adjectives have no meaning to describe how she came across to us. Even as I write this after 16 hours of the performance in my minds eye she is still there and her perfect movements her dexterity of footwork her precision and perfection in landing back exactly where she started after a swirl, her arrow like body and her sheer energy.....! Amazing that such youngsters do exist to continue this phenomenal art form called bharatanatyam. The story line she had taken was about three forgotten women from the epic Ramayana, namely Kaikeyi, Surpanaka and Sita and she tried to weave a dance drama around them interpreting their lives in the context of modern women. While this interpretation fell flat as the explanation being offered did not fit with the context nor was the research done about the three women clear, the way the programme was rendered made one forgot about the naivete of interpretation of the respective role of each women in the epic or their relevance to the modern context.
The programme held at Habitat Centre auditorium was sponsored by HCL. Me and smitha in fact quite unexpectedly came across this programme and walked in to watch and it turned out to be a lifetime experience. My feeling quite sincerely was like the average bhhakta who spends life time of his savings and undergoes so much of hardship reach Tirupathi koil to have the darshan of the Lord and gets pushed in the queue only to get a minute of His darshan for all his efforts. But that single minute in the jostling crowd would stay etched in his mind for the rest his life and this episode would be narrated endless number of times all this life. This one is in that category, honest! Thanks Mythili for giving such a celestial experience.
It reminds me of an experience I had couple of years earlier when we gave a training session at a school in Dehradhun for the teachers. We had switched on the music and told the teachers to close their eyes and relax for about ten minutes and report back their experience.I didn't realise that the music that played was classical dancae music until one teacher came up to say that she experienced being before the king Indra and dancing before him in all the few minutes the music played. We believed her then and I sincerely believe her now. I can understand her true feeling. Smitha and I were transformed to another world for the few minutes we spent watching Mythili perform, a world beyond possible, a world of sincerity a world of hope, peace and promise. God bless you Mythili.
Here is the open mail/letter that I had sent her this morning.
Dear Ms Mythili
yesterday was one of the most memorable days of our lives quite honestly you happened totally unexpected to us, me and my wife Smitha. You simply entered into the realms of our eternal imagination as the embodiment of limitless possibility with your dexterity and sincerity of your performance on stage. Frankly we didnt know you existed purely owing to our own limitations of not knowing the artists even though we have a keen appreciation of the art form of classical dance. Nor we had an invitation to your performance. We just chanced by and that too towards fag end of performance and whatever those 20 minutes were, they are etched in our collective memory and speaking for myself these were moments of truth which happen to people barely a few times in their lives. Mythili you are a great dancer, quite sincere to getting perfection and above everything you live for dance as simply as you breathe to live. This I am positive about. I am sure you have a very rich future ahead for contributing to this form. My only request is, it is one thing to build a career out of such a performing art but yet another in contributing to its growth as only sincere and devoted people like you could carry the mantle forward in this generation.. This is best done through research, documentation, dissemination and participation. Mega shows add a lot of value to your career but sincere hard core research and its dissemination keeps you in the mindscape of people even many generations after you have passed. Like the celestial dancers carved in sandstones in Belur Halebad, Konark, Mamallapuram, Aayiramkall mandapam of Trichy, Madurai......who live to this day your work would stay for posterity provided you delve deeper in this artform and make it available to everyone!
In this context getting things right is equally important and I want to place before a few thoughts on the topic you had chosen for yesterday's performance about the three women and their deeds. The three women from the epic Kaikeyi, Surpanaka and Sita have interesting background and they are simply caught in the web of fate, though each were endowed with their own special strength and calling in life. In fact the last one was the most affected of the lot and more dependent on the Male factor than the other two. Sita did not have a life of her own. The context about her is not about people questioning her integrity which is but a minor aspect of her life and even this was done by her own husband anticipating such a query from people and the society which may not actually have happened. But the real issue is she was never free and was always in shackles in all her life. She was a puppet on a string put there by her father to be claimed by any male prince of valour. Rama having conquered her by his strength of bending a bow and not appealing to her heart simply led her around as his handmaiden into all difficulties and she landed herself in trouble just about the only time in this story she is seen to have expressed her desire to possess something namely the magical deer. This time in the hands of the demon king Ravana who perhaps treated her with more dignity by preserving her and constantly beseeching her consent and not wanting to take her against her will--something Rama never worried about as she came as a gift for his show of strength. Sita is the best example of a nameless faceless womenhood which has continued from that time till date.
As to Kaikeyi she being a women of valour and strength herself chose to marry a blind king as his second wife, perhaps out of sympathy or a misplaced sense of possession as after all his life was a gift she gave in the battle field. It was not altogether unexpected for such a woman to nurture a dream of power for herself or her son particularly when Manthara came along to remind her of her chance to exercise her boon. Kaikeyi fits more with the description you gave for surpanaka in the modern context where women in corporate sector who otherwise are very sincere about their work and commitment do not hesitate to go for the kill if it suits them.
Surpaneka is merely a mirror image of manthara and her role is only to instigate her brother to lust and revenge which was quite vile considering that she got insulted by the brothers Rama and Lakshman when she desired the boys for her lust. She is no woman of any virtue and not worthy of being mentioned along with the other two women. Surpenaka is evil as evil can be described and quite a minor player.
The bottomline is simple. In your zeal to contextualise the characters from the epic you should stick to certain realities of the time and now and not interpret in the manner you have done which does not jell at all. Having seen your performance and your sincerity I wished you do a more thorough research and analysis of the stories and episodes you take up before putting these on stage. After all coming from a devotee of the art like you anything you say or do would carry more weight and meaning than perhaps what was written or said from the epics or other stories you take up for enactment. That is your responsibility and your call in life. I hope you appreciate that.
My sincere wishes and blessings to a great artist with tremendous promise and one who is going to not only continue the powerful artform practiced by her grand gurus and her mother but one who would contribute more it and immortalise it using modern tools of knowledge. God bless!
Thothathri Raman
www.seaastandards.org
yesterday was one of the most memorable days of our lives quite honestly you happened totally unexpected to us, me and my wife Smitha. You simply entered into the realms of our eternal imagination as the embodiment of limitless possibility with your dexterity and sincerity of your performance on stage. Frankly we didnt know you existed purely owing to our own limitations of not knowing the artists even though we have a keen appreciation of the art form of classical dance. Nor we had an invitation to your performance. We just chanced by and that too towards fag end of performance and whatever those 20 minutes were, they are etched in our collective memory and speaking for myself these were moments of truth which happen to people barely a few times in their lives. Mythili you are a great dancer, quite sincere to getting perfection and above everything you live for dance as simply as you breathe to live. This I am positive about. I am sure you have a very rich future ahead for contributing to this form. My only request is, it is one thing to build a career out of such a performing art but yet another in contributing to its growth as only sincere and devoted people like you could carry the mantle forward in this generation.. This is best done through research, documentation, dissemination and participation. Mega shows add a lot of value to your career but sincere hard core research and its dissemination keeps you in the mindscape of people even many generations after you have passed. Like the celestial dancers carved in sandstones in Belur Halebad, Konark, Mamallapuram, Aayiramkall mandapam of Trichy, Madurai......who live to this day your work would stay for posterity provided you delve deeper in this artform and make it available to everyone!
In this context getting things right is equally important and I want to place before a few thoughts on the topic you had chosen for yesterday's performance about the three women and their deeds. The three women from the epic Kaikeyi, Surpanaka and Sita have interesting background and they are simply caught in the web of fate, though each were endowed with their own special strength and calling in life. In fact the last one was the most affected of the lot and more dependent on the Male factor than the other two. Sita did not have a life of her own. The context about her is not about people questioning her integrity which is but a minor aspect of her life and even this was done by her own husband anticipating such a query from people and the society which may not actually have happened. But the real issue is she was never free and was always in shackles in all her life. She was a puppet on a string put there by her father to be claimed by any male prince of valour. Rama having conquered her by his strength of bending a bow and not appealing to her heart simply led her around as his handmaiden into all difficulties and she landed herself in trouble just about the only time in this story she is seen to have expressed her desire to possess something namely the magical deer. This time in the hands of the demon king Ravana who perhaps treated her with more dignity by preserving her and constantly beseeching her consent and not wanting to take her against her will--something Rama never worried about as she came as a gift for his show of strength. Sita is the best example of a nameless faceless womenhood which has continued from that time till date.
As to Kaikeyi she being a women of valour and strength herself chose to marry a blind king as his second wife, perhaps out of sympathy or a misplaced sense of possession as after all his life was a gift she gave in the battle field. It was not altogether unexpected for such a woman to nurture a dream of power for herself or her son particularly when Manthara came along to remind her of her chance to exercise her boon. Kaikeyi fits more with the description you gave for surpanaka in the modern context where women in corporate sector who otherwise are very sincere about their work and commitment do not hesitate to go for the kill if it suits them.
Surpaneka is merely a mirror image of manthara and her role is only to instigate her brother to lust and revenge which was quite vile considering that she got insulted by the brothers Rama and Lakshman when she desired the boys for her lust. She is no woman of any virtue and not worthy of being mentioned along with the other two women. Surpenaka is evil as evil can be described and quite a minor player.
The bottomline is simple. In your zeal to contextualise the characters from the epic you should stick to certain realities of the time and now and not interpret in the manner you have done which does not jell at all. Having seen your performance and your sincerity I wished you do a more thorough research and analysis of the stories and episodes you take up before putting these on stage. After all coming from a devotee of the art like you anything you say or do would carry more weight and meaning than perhaps what was written or said from the epics or other stories you take up for enactment. That is your responsibility and your call in life. I hope you appreciate that.
My sincere wishes and blessings to a great artist with tremendous promise and one who is going to not only continue the powerful artform practiced by her grand gurus and her mother but one who would contribute more it and immortalise it using modern tools of knowledge. God bless!
Thothathri Raman
www.seaastandards.org
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