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The Cleveland Plain Dealer
Indian dance drama brings three brave women to the fore

Friday, September 22, 2006
Wilma Salisbury, Plain Dealer Dance Critic

When the Cleveland Cultural Alliance was founded in 1991 to bring India's leading dancers to North America, master dancer-choreographer V.P. Dhananjayan and his wife, Shanta, gave the debut concert at Cleveland State University.

The esteemed couple performed an intimate program of Bharatha Natyam, the ancient classical dance of South India. Later, they collaborated with the late Heinz Poll on "Jungle Book" a cross-cultural story dance for Ohio Ballet, and they also created a full-length dance drama commissioned by Cleveland Cultural Alliance.

To celebrate the alliance's 15th anniversary, founding president Uma Ganesan invited the Dhananjayans to choreograph a grand three-act dance drama. The $200,000 production, "Ekaantha Seetha . . . a Lonely Furrow," was premiered this month in Chennai, India. The show comes to Cleveland for its North American premiere tonight at the Cuyahoga Community College Metro Campus Auditorium. The performance launches a 10-week, 32-city tour.

"CCA is the best professional administrative organization in America bringing professional-caliber artists from India," Dhananjayan said by phone from Yogaville, an ashram and summer retreat in Buckingham, Va.

"Hats off to Uma. She brings together very good artists and gives us a lot of inspiration."

The inspiration for "Ekaantha Seetha" (Sanskrit for "lonely furrow") came from the lives of three courageous women who dared to stand up for their convictions:

Sita, a royal personage in Hindu mythology, was forced to deliver and raise twin sons in a jungle hermitage. So extraordinary were her parenting skills that the boys became heroes whose valor exceeded that of their exalted father, Rama.

Rani Lakshmi Bai, mother of the freedom movement in 19th-century India, started a revolution, led her community into battle against the British and died a heroine.

Aparajitha, a contemporary character, symbolizes women who deal with stifling traditions in rural India. She overcomes prejudice and leads her community to a brighter future.

Senior dancers who have performed in North America and established a loyal following here play the roles of the three women. Dhananjayan takes the role of the guru who guides each character.

In separate interviews, the principal dancers talked about the characters and the production.

Stories with relevance for everyone

"Sita had a crucial will of steel that molded her in such difficult times, through so much grief and so much despair," Sreelatha Vinod said by phone from Chennai. "She was dealing with problems without shouting about it."

Sreelatha, a disciple of the Dhananjayans, played the mother of Mowgli and a graceful elephant in "Jungle Book." Director of her own school, she is gaining recognition as an innovative choreographer.

"The production has three totally different episodes," she said. "It is not a cry of feminism. It's not talking about suppression of women. It's talking about ethical and moral values. It's about how we stand up for something that is so basic that anyone can relate to it. It's relevant for anyone."

Sujatha Srinivasan, Cleveland's internationally renowned Bharatha Natyam dancer, plays the role of Rani Lakshmi Bai.

"She was a queen, a warrior," Sujatha said by phone from her home in Strongsville. "She was very brave, a great patriot of India."

Although Sujatha did not study with Dhananjayan, she has known him since her childhood in India, and she regards him as her "Manaseeka guru."

"He's the guru you revere from your heart," she said. "It's a learning experience and a challenging experience to participate with someone as great and good and generous as Dhananjayan."

Pavithra Srinivasan, director of a dance institute in Plainfield, N.J., also has known the revered guru from an early age, and she has attended his workshop in Yogaville. She portrays Aparajitha, the contemporary woman.

"She is an ordinary girl, eager to learn," Pavithra said by phone from a summer institute in Saylorsburg, Pa. "She leads a traditional, routine life until an accident makes her husband paralyzed. Then her courage and capacity emerge. She has to go out and earn a living. She steps into society. She is shunned and mocked. But she goes ahead to do work and contribute to society. She becomes the leader of the community."

The culmination of two years of work

The story of each woman will be told in the dynamic movement vocabulary of Bharatha Natyam. But each episode will have a different flavor, representing the progression from epic to historical to modern times. The principal characters will interact with an ensemble of 14 young Indian dancers chosen in open auditions in Chennai, where the Dhananjayans are based.

"We started the choreography in February," Dhananjayan said. "We had six months of daily rehearsal. They are well trained. They are very experienced."

Shanta Dhananjayan will take a speaking role in the production, and so will narrator Rathna Kumar, founding director of Samskriti Society for Indian Performing Arts in Houston. Indian journalist Ranjitha Ashok wrote the script, mostly in English.

The accompanying music, a mix of Karnatic, Hindustani and modern styles, was tailor-made to fit the choreography by Indian composer T.V. Gopalakrishnan. An Indian orchestra recorded the score.

The artistic team worked together for two years, shaping and reshaping the production. The collaborators were especially concerned about making sure that the work comes across as a tribute to women and not a put-down of men.

"We read so many terrific stories of real-life women in India today who face hurdles and yet have the determination to overcome these hurdles," Ganesan wrote in an e-mail from Chennai. "We salute them through this production. It is a celebration of their strength and resolve."

Review - The Hindu, Sept. 15

The high pitched peal of temple bells heralded the arrival of the Ganesha procession. Singing the praise of the deity, the devotees wove through the audience before the idol was symbolically immersed in the sea. This was the high-energy opening of ``E'kaantha Seetha... a lonely furrow," produced by Cleveland Cultural Alliance that premiered in Chennai before their tour of North America.

Dedicated to S.Manjubhashini in her birth centenary, this production seeks to exalt womanhood using a wide canvas that made examples of strong women in mythology and history, such as Vaidehi and Rani Laxmibai of Jhansi, before coming to today's iconic woman, Aparajitha, who triumphs over similar trials.

Vibrant panorama

The detailed research, the excellent yet unobtrusive musical score, the sensitive dance choreography and tasteful costumes had come together seamlessly in a vibrant panorama. This could not have been achieved without individual and collective passion.
The dance choreography by the Dhananjayans kept the presentation moving, while not sacrificing the inherent pathos. The scenes between Vaidehi and her boys were particularly poignant, as was the scene of Rani's death. The scene proclaiming Gangadhar's death was a masterstroke where the news literally passes from one to another.

The music composition by T.V.Gopalakrishnan was remarkable in its predominantly instrumental simplicity. The different style of music for each segment was tailored to perfection with the extra inputs of the narration neatly incorporated.

The concept and script by Ranjita Ashok went hand in hand with the presentation. The narrators were not left superfluous; they were there to capture and convey the story without giving away any of the drama in store. But it was the last act that brought out the best in the writer's ammunition of wit and cynicism.

The costumes by Lakshmi Srinath were appropriate and practical, yet stylish. The effect of layering without the bulk came across effectively. Vaidehi's costume was especially gorgeous.
Lakshmi Krishnamurthi's set designs were minimalistic and classy.

Well-coordinated

The dancers were well co-ordinated and gave energy to the production. Srilatha, Sujatha Srinivasan and Pavithra Srinivasan, as the protagonists added depth to their roles, while Shantha Dhananjayan and Rathna Kumar as narrators and bards felt over-qualified for the sidelines. Dhananjayan as Guruji in the last segment played the part of a mentor with great tenderness.

Despite so many pluses, there are some points that need to be addressed, the most obvious being the length of the production.
The next is the irony — finally it is a man, the teacher, who gives Aparajitha the strength to believe in herself and blaze her own trail. And the third is to do with the aesthetic quality of the production that rapidly deteriorated towards the end with the loka dharmic scenes of the drunks in the marketplace and the shady characters at the tea stall. These issues apart, this is a `must-see' programme.

The Hindu - Sept. 8

A tribute to women
KAUSALYA SANTHANAM
Cleveland Cultural Alliance celebrates woman's strengths through "Ekaantha Seetha... a lonely furrow," to be staged at the Music Academy on Sept. 12.

A meaningful theme with a sharp relevance to the present, arresting choreography, music that effortlessly ranges from the classical to the folk, and vibrant, well researched costumes — all these promise to make "Ekaantha Seetha... a lonely furrow" a professional show.
Produced by the Cleveland Cultural Alliance and choreographed by Shanta and V. P. Dhananjayan, the dance-drama's premiere will be presented by the Crafts Council of India at the Music Academy on September 12, 7 p.m.
T. V. Gopalakrishnan is the music director, Ranjitha Ashok is responsible for concept development and script, costumes have been designed by Lakshmi Srinath and the sets by Lakshmi Krishnamurthi.
This production is a tribute to the strengths of women, especially those who have overcome odds and though alone, have managed to blaze a trail for others to follow. Armed with determination that helps them rise above their circumstances, these are women who believe in themselves and their worth.
"Ekaantha Seetha" links the past and present: it threads together epics, history and our contemporary realities through music and dance.
Seetha, who undergoes a courageous ordeal by fire and later raises her twin sons in exile, Rani Lakshmi Bai of Jhansi who held aloft the flag of freedom, Aparajitha, the iconic woman of today, are the heroines of the three segments woven into a three-hour presentation, which has 16 dancers taking part.
Guru and mentor
V.P.Dhananjayan performs the role of the guru and mentor in all three parts while Shanta Dhananjayan and Rathna Kumar are the narrators. The roles of the heroines are performed by Sreelatha Vinod, Sujatha Srinivasan and Pavithra Srinivasan.
"Only the Dhananjayans could have handled this particular theme as it needs mature choreography. It is also appropriate as they performed for us 15 years ago when the CCA was inaugurated," says Uma Ganesan, president of the Cleveland Cultural Alliance and the moving spirit behind the production.
"After shifting to India, I have been reading many newspaper reports about women from small towns who triumph over adversity and accomplish extraordinary things — starting self-help groups, educating their children and coping with alcoholic husbands. The work has been inspired by them. And who can be the bedrock of the theme but Seetha, the `Veera Arya Kanya?' We have used Valmiki's verses and also those written by Prof. Prashanth of Vivekananda College in the same metre. Sanskrit, English and Hindi are the languages used in the production, which we feel will appeal to young people too. Our aim is to entertain and educate."
" I have made use of a lot of innovative movements. The dance drama shows how our traditional idiom is capable of handling even the contemporary,'" says Dhananjayan. "The artistes are excellent dancers and bring their own valuable contribution to the work."
This is not a feminist interpretation, adds Shanta.
"Ekaantha Seetha" will tour 28 cities in the U.S. Donor passes are available at the Music Academy

Scenes from Ekaantha Seetha

New Indian Express - Aug. 20 Article

The right step Friday August 18 2006 16:29 IST Usha Ravi
Uma Ganesan started Cleveland Cultural Alliance, a non-profit organisation 15 years ago. It was established to promote among American audiences a deeper awareness and appreciation of India’s classical arts. CCA – also established in India as Cleveland Cultural Alliance (India) – chose Indian classical dance as the vehicle. The aim is to work for the benefit of art and artists in both countries and bring them closer through excellence in production, presentation and performance. CCA’s productions premiere in India and then travel to North America. What made Uma set up CCA? “I don’t think I really had a premeditated plan. I love watching good dance of any kind. I was living in the US and was saddened that Indian classical dance was being seen by so few – both Indians and non Indians – and that too only in an educational or University type setting for the most part, at least where I was, in Cleveland. We got to see many other performances from different countries, and a lot of them, I felt, were not as good as ours. So I decided I would like to present Indian classical dance in a format – like a story ballet – that could be understood by a multicultural audience. I needed a formal, non-profit organisation that could present such productions. It worked. People wanted more.’’ Did she receive any support then? “My husband did encourage me and I had encouragement from the community,” she smiles. “You know how fragmented Indians in the US can be. I had to persuade them that the show was worth at least $25 per ticket! And Cleveland State University and Cuyahoga Community College helped with providing performance space.” It was through tours that the CCA raised the money to pay for the production and artists. Now, the shows are booked sight unseen. “All this makes us even more aware of the need to achieve a high level of production. A particular dance drama may be liked better than another but we try to make sure that no one can say it did not have excellent production values.” “I wanted the best dancers, choreographers, music,” says Uma, “not necessarily the best known but often those who had the potential and were professionals. Jaya Jaya Devi, our first production, was a mythological with great music by violin maestro Lalgudi Jayaraman and vibrant dancing by a young and energetic team. It was a huge success.” Then Uma got to know Dr Lucille Gruber, Director of Cultural Arts, Cuyahoga Community College, “and there started my real growth.” An artist herself, Dr Gruber was eager to work with CCA and, “we bravely launched into a cross-cultural production – Jungle Book – with ballet and Bharata Natyam coming together. We had a 6-week India festival surrounding this production, and it brought the Indian and other communities together for the very first time. Over a period of 8 days, there were 8 sold out shows – more than 14,000 people saw it in Cleveland and Akron area and it toured the US the following year.” But India has never seen it. “Nobody wants to fund anything like this. It’s a great pity.” After this, Uma was clearer about what she wanted to do. Themes had to be universal, and narrative elements had to be in English, a language easily understood. “All the productions are well researched and well prepared. We did varied themes such as Abhyaasa (about life in a gurukulam), Living Tree (about the oneness of man and nature), Silappadhikaaram (a great Tamil epic) and Ekaantha Seetha. Each production evolves over a period of 2-3 years.’’ Americans and Canadians who attend CCA’s performances are sometimes more deeply appreciative of its work than audiences of Indian origin. “I am also very happy that we are getting many more young audiences, both abroad and in India,” says Uma. CCA’s latest production, Ekaantha Seetha…a lonely furrow is about rising to challenges. It is a celebration of women who have demonstrated the courage to be independent thinkers. VP Dhananjayan and Shanta Dananjayan – the first dance couple of Chennai – have choreographed the production. The multitalented TV Gopalakrishnan is the composer. Ekaantha Seetha will premier in Chennai shortly.

CCA's Next Classical Dance Production

Ekaantha Seetha …….. a Lonely Furrow

An Overview

On threaded palm, papyrus and page,
Now revered, now heralded, mostly unsung;
Across the orb’s unmeasured miles,
Unbent under Destiny’s unrelenting crush,
As others weep, wail and wither,
Some stand and plough a lonely furrow.

In mythology, as in parables, in literature as in fables and in history as in everyday life, there have been, as there continue to be, inspirational women who were forced by circumstances to plough a lonely furrow. In mythical Hindu theology, Sita, Sanskrit for furrow, was exiled, despite her surmounting a voluntary test by fire, by the misguided morality of an honourable husband and forced to deliver and raise her twin sons in a jungle hermitage. Raise them she did, as heroes whose valour exceeded that of their mighty uncles and their famed father.

In recent Indian history, the freedom movement was launched by the demure determination of an accidental monarch, Rani Lakshmi Bai of Jhansi. Widows of the time either stepped into their husbands’ funeral pyre or retreated into prayer. Lakshmi Bai was forced by the self-serving servility of scheming Indian rulers and opportunistic empire builders to fight for the freedom of her people, for her own life and that of her infant son. She died a heroic death and gave birth to the freedom movement.

Aparajitha is one among thousands of women of unheralded courage in today’s India. Born in a stiflingly traditional small town community, she is fortunate to be led by an enlightened teacher, but Fortune frowns on her in most other respects. Aparajitha, however, isn’t one to be beaten by others. She too ploughs a lonely furrow, pushing against the rocks and boulders of unthinking tradition and leads her community toward a less constrained future.

Ekaantha Seetha is a celebration of women of such extraordinary courage and character, of such gumption and grace. We reap the harvests of the loosened fields of lonely furrows ploughed by such women.


Choreography: V.P. and Shantha Dhananjayan
Composer: T.V. Gopalakrishnan
Sources & Lyrics: Srimad Valmiki Ramayanam, Tulsidas’ Ram Charitha Maanas, “Sitayana” by K.R. Srinivasa Iyengar, “The Queen of Jhansi” by Mahasweta Devi, “Jhansi ki Rani” by Subhadhra Kumari Chauhan, Subramania Bharathiyar.

Premiere': September 12, 2006, The Music Academy, Chennai.

N. American Tour: September 21 - November 19, 2006