Shobanatya!It would be no exaggeration, when I say that, I was so looking forward to some live performances after almost 2 years of onslaught (rather assault) of online programs. Almost everyone was uploading something all the time, gender, age, skill, talent, knowledge no bar. Even children and pets were not spared. Imagine, YouTube will accept both mine and Sanjay’s singing. What an equaliser ! But performing onstage is a different matter altogether. One needs audience for a live performance and mostly they come by their own choice& interest. The live audience is less distracted and hence the experience is more enjoyable. When I was invited to the Sadhana Festival of dance organised by the Indisha Trust, I was there on Day 1, well before the program began, not wanting to miss the Bharatanatyam performance of Shobhana Bhalachandra. I know her to be excellent dancer and an equally wonderful teacher, who her students swear by. She started the evening‘s performance with a Mallari in Shiva Shruti. Actually, Mallari is a unique piece of music played on a Nagaswaram (or Nadaswaram as it is commonly known). This is played when the presiding deity of the temple is taken on a procession. The common Ragams played are Gambeera Nattai, Mallari is an invocatory pieces but it is not often we get to see an opening with a Mallari. But, that is Shobhana-uncommon in her approach, giving her knowledge and years of experience to the art. Both Mallari and Pushpanjali were not a part of the Bharatanatyam margam when it was only ‘Dasi Attam’. With changing times, it has been used an invocatory piece. Shobhana was captivating and got the interest of the audience in the very beginning. It is both interesting & amusing that the word ‘Mallari’ when translated means ‘wrestling with the Lord’, that is before the idol is seated on the chariot,the priests are supposed to wrestle with him and get him ready to seat him on the palaquin ! All this is fascinating, isn’t it ? Religion, philosophy, and the relationship with the Supreme, the way art and art forms are the means to attain God. Everything is so playful, colourful and lively. What followed was an exquisite Varnam in Khamboji by Thiruveezhimalai Nataraja Sundaram. Shobhana is an imaginative dancer who doesn’t misuse her imagination and digress from the tradition. She created an art experience for the audience which was absolutely delightful with her footwork & agility. In the latter part of her performance, Shobana chose the unusual role of looking at things from the male perspective. I remember sometime back, she had conceptualised a program ‘Ashtanayikas’, which was about the ‘Modern Woman’ and her individuality which was depicted in an interesting manner in 8 different scenarios. I always look forward to her representations which gives something extra. What I mean is that there is a lot of thinking which goes into her performances. The latter half of the evening showcased exactly what I am speaking. When we are all in a era oozing with feminism & and evolving to become a woman’s world, Shobana set out to bring to us the male perspective in the two Padams that followed. This was composed by her own guru, the one & only Dhananjayan Sir. The composition conveyed the man’s plight and anguish and his inability to understand his woman. After all, rarely has a man been able to decode a woman’s mind or feelings. It has been one of the unanswered puzzles for eons. No wonder, one of the best sellers even today is John Gray’s ‘Men are from Mars, Women are from Venus’. John Gray, a relationship counsellor who ironically couldn’t save his own (first) marriage, failing to understand his first wife (who was herself a relationship consultant). Probably multiple marriages gave him more research material and he could write this best seller wiser with his own experiences. Here Dhananjayan Sir’s poignant composition in Ragam Thodi was very beautifully crafted and depicted. In the second Padam, was where a friend, who tries to convince the nayika or the heroine to go back to her lord. Just as I was watching Shobhana dazzle on the stage, it occurred to me, how distant this scenario is from the relationships the generation today have. In our classical music or poetry, starting with ‘Abhignanashakuntalam’ by Mahakavi Kalidasa, the role of the Sakhi, the friend, the confidant, is so pivotal and important. Those whispered secrets are now there for all to see, read, advice on Instagram, Facebook and everywhere. I have so many friends who I have never met, who understand me and send me ‘HUGS’ virtually. But, these kind of friends don’t work, in our Padams & Javalis. We need those expressive eyes to convey the range of emotions, we need the that nod, that smile, that pouting, that glee, that confusion, that sorrow and every movement to convey something. Shobana could offer all these and much more. Enough have we seen the woman waiting patiently for her man to return, now it is a time for role reversal. Shobana ended the program showing the woman returning to her waiting man, with a thillana linking it the popular ‘Thunbam Nergaiyil’ in Ragam Desh. So, it is ‘All live happily ever after’ ! ! Read less