KOCHI: Vyloppilli Samskrithi Bhavan in Thiruvananthapuram was witness to a one-of-a-kind performance on Saturday. Under a canopy of soft lights and soothing music, Spanish dancer Bettina Castano moved elegantly to the fiery rhythm of flamenco. It was poetry in motion. With each step, new stanzas unfolded, inviting the audience to lean back and soak in the splendour of the occasion.
However, this changed when a new figure emerged on the stage. With a flourish of lights in various hues of the rainbow, audiences were pulled back on the edge of their seat as Bengaluru-based kalari artist Raam Kumar R’s almost fluid-like and dynamic movements presented a stark contrast to the earlier dance.
This fusion of flamenco and kalari, made profound by the rich, resonant tones of mizhavu music playing in the backdrop, made up the Bhoomiputri performance. Directed by Latha Kurien Rajeev, it is based on poems by Meera Nair and portrays the evolving journey of women.
“I wrote the poems nearly a decade ago. It was Latha who suggested adapting the work for the stage some years ago. Now, it has come to fruition. I’m very happy with the outline. As the quote says, ‘Poetry does not belong to those who write it, but to those who need it.’ I believe this art form allows it to reach a broader audience than the written form alone,” Meera says.
Rajarajeshwari E of Nireeksha Women’s Theatre crafted the script using lines from the poetry collection that touched her the most. Latha then interpreted the script in her unique style and transformed it into a one-hour performance.
“Everything happened serendipitously. I never expected to fuse these two art forms. But it turned out to be a beautiful performance. Almost all of my directors explore the theme of a woman — her strength and sacrifice. It’s present in this performance too,” says Latha, the director.
Bhoomiputri explores a woman’s journey — from the innocence of her youth to her finding inner strength after the experiences she faces in life. “I believe these experiences are almost the same with every woman. Only a few manage to break free from the bondage. In the play, there’s a moment where the woman takes back her power and breaks all that tries to shackle her and change her soul. It’s quite poignant,” says Latha.
Latha explains that she is not a feminist, nonetheless, she stands against violence against women. “I firmly believe that love is the ultimate cure for everything.” And the first step towards it is the love and understanding of oneself. “The narrative points out that every man must awaken the Goddess in him. Within each person, there exists a balance of opposing natures, symbolised by Yin and Yang. This concept is also like the Shiva Shakti concept, represented in Indian culture as Ardhnarishwar. How you perceive, receive, and accept these forces have the power to transform you,” Latha says.
What melds the two performances together is, no doubt, the music. Kalamandalam artist Rahul Aravind was exceptional on the mizhavu. The lighting and sound design teams too needed to be commended for bringing the space alive.
The stage setting was intentionally made minimalistic. And Latha wanted Raam and Battina to have the stage entirely to themselves, allowing their performance to speak volumes without distractions. The sound and light nudge the audience towards the performers, enhancing each emotion and each flutter made by the duo.
Speaking about the future of Bhoomiputri, Latha elaborates, “I would like to present Bhoomiputri at various cultural and artistic institutions and art centres across the country and around the world. There’s much to be learned from the daughter of the earth.”
Did you know
The roots of Flamenco is said to lie in the Roma migration from Rajasthan to Spain between 9th and 14th centuries. The essence of the dance form lies in its songs. Between 1780 and 1845, singing was the main aspect of Flamenco, dance and musical accompaniment were secondary. The songs sdeal with themes like anguish, despair, love, humour, etc.