THIRUVANANTHAPURAM: The first octet of ‘Geethagovindam’ opens with a hymn invoking goddess Karthyayani. Then, the lyrical dance drama moves to the banks of Kalindi where Krishna and Radha revel in love. The ashtapadis showcase a whole spectrum of emotions ranging from yearning and estrangement to anger and reconciliation, culminating in rasaleela, the cosmic union. The premise seems perfect for a mohiniyattam production, but when Nirmala Paniker presents a saptham, it goes far beyond the ordinary. “I choreographed this story after years of research, incorporating some uncommon and unique hand gestures,” says the mohiniyattam exponent whose Geethagovinda Saptam was staged in the city recently .
The highlight of the production is it’s choreography drawing heavily from an ancient manuscript - 200-year-old ‘Geethagovindam Nrithyalakshanasahitham’. “I came across this treatise at the Sarbhoji Mahal Library in Tanjavur, Tamil Nadu. It features certain ‘mudras’ we are not very familiar with, that are not referred in ‘Natya Shastra’. The ‘mudra’ for moon shows not just the moon, but also integrates the blemish in the form of a fawn.
And while presenting the turtle incarnation mudras showing both the turtle and mountain are used. These are some rare and fresh practices I found in the book,” she says.
Nirmala says one reason she based her production on this acting manual is that the hand gestures are very similar to Kerala style, something she could easily fuse into her art form. “Most of the mudras bear a close resemblance to what we use in mohiniyattam. So there is no radical deviation from the classical template,” she says. Geethagovinda Saptam adapts the ‘pakarnnattam’ technique, where the dancer transforms into multiple characters to unravel the story. Another specialty of the production is its music - a blend of Sopanam style, Carnatic, Hindusthani and pure instrumental.
Geethagovinda Saptam is not an innovative experimentation, but a recreation of the old and original format. “I have gone in search of missing links rather than introducing movements that doesn’t match with the feminine and lasya elements of the dance form,” she says.
The danseuses adds it’s also an attempt to reclaim ancient styles of abhinaya.
“According to the age-old texts on performing arts, when you are expressing anger your face should turn red and when in a pensive mood there should be a thin glint of tears in the dancer’s eyes. I am trying to bring back this old and scientific style of acting,” she adds.