inDANCE Program

inDANCE 16 shades of RED—chapter one (world premiere) SATURDAY, MAY 12, 2018 • 8PM

16 shades of RED—chapter two (world premiere) SUNDAY, MAY 13, 2018 • 2PM

Vanderhoef Studio Theatre Mondavi Center, UC Davis Pre-Performance Talk Speaker: Davesh Soneji Associate professor of South Asia studies at the University of Pennsylvania (see bio, p. 8)

India in the Artist’s Eye Festival is curated by Professor Archana Venkatesan, chair, Department of Religious Studies and associate professor of comparative literature in partnership with The Robert and Margit Mondavi Center for the Performing Arts, UC Davis.

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

ARTISTIC STATEMENT

“ ... an irresistibly spirited ensemble ... rarely has Bharatanatyam-inspired dance seemed so much fun, for performers and audience alike.”

W

elcome to 16 Shades of Red (chapters 1 and 2), two full-length duets with the Canadian company inDANCE, featuring Dr. Hari Krishnan and Dr. Srividya Natarajan. On May 12 and 13, 2018, the audience will experience two different sets of repertoire inspired by courtesan dance traditions from South India, adapted for the contemporary stage.

Through the reign of the Maratha kings of Tanjavur, and under the patronage of local zamindars and urban elites in the 19th and early 20th centuries, Bharatanatyam was nurtured as a virtuosic art that was meant to stimulate aesthetic pleasure through the presentation of lyrical texts and movement. These courtly and salon dance performances were given by women known variously as devadasis or kalavantulu, professional artists and courtesans. This performance tradition came to an end with the radical shifts in morality ushered in by colonialism and the rise of Indian nationalism in the 20th century, when courtesan lifestyles were criminalized by the state. Ironically, these very same traditions were simultaneously appropriated by urban, upper-caste elites, and re-fashioned into idioms that celebrated Indian nationalism and radical new assertions of Hindu religious identity in the public sphere.

16 SHADES OF RED | MAY 12–13, 2018

—Dance International

Each of the works in 16 Shades of Red is inspired by courtesan performance traditions in the Kaveri delta region in Tamilnadu and the coastal Andhra region. From an epistemic standpoint, the artists of inDANCE do not wish to “recreate dance as it was,” but rather use the older vocabulary of courtesan dance and music to address the mediated, modern nature of all extant forms of so-called “Indian classical dance.” The title, 16 Shades of Red, is a metaphor for the erotic experience, and the choreography of this work weaves 19th and early-20th century lyric poetry into a dynamic, movement-based interpretation.

In addition to its contemporary staging, 16 Shades of Red also includes the use of uncommon abstract dance movements (adavus), gestures (mudras), and improvisational technique (sandhi viccheda sanchari) that have been taught to us by male and female master artists from traditional communities.

It is to these individuals that we dedicate our performances.

Thank you for sharing your time with us.

We sincerely hope you enjoy these performances of 16 Shades of Red.

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Chapter 1: May 12 Todayam/Salam Sabdam (musical prelude) Salam Daruvu Varnam: Danike Tagujanara Padam: Atikati Javali: Attavaru Tillana: Mandari

Chapter 2: May 13 Ganapati Varugai and Chandikesvara Kautuvam (musical prelude) Rudraganika Kautuvam Selections from Sarabhendra Bhupala Kuravanji Tanjavuri Lavani Sabda Pallavi

CREDITS AND ACKNOWLEDGEMENTS Performance/Choreography: Hari Krishnan and Srividya Natarajan Adapted from original solo choreography by master artists K.P Kittappa Pillai, R. Muttukkannammal, Kotipalli Hymavathi and Saride Mythili Musicians: Nattuvangam/Narration: Davesh Soneji Vocals: Vidya Sankaranarayanan and Vaaraki Wijayaraj Mridangam: Kajan Pararasasegaram Violin: Mithuran Manogaran Jati Composition: K.P. Kittappa Pillai, K. Ganesan and Ramachandra Nattuvanar Research: B.M. Sundaram and Davesh Soneji Lighting Design: Jack Carr Costume / Visual Design: Rex (Rajavairan Rajendran) Costume Construction: Shanthi Tailors and Jameel Tailors (Chennai) Stage Management: Tara Mohan Tour Management: Shana Hillman inDANCE’s premiere of 16 Shades of Red has been made possible by the generous support of The Canada Council for the Arts, The Ontario Arts Council, Toronto Arts Council and the Bank of Montreal. inDANCE is grateful to Nada Ristich (BMO) for making this production possible and for her continued support of our work. inDANCE offers its immense thanks to Archana Venkatesan, Jeremy Ganter, Jenna Bell, Laurie Espinoza, Donna Flor, Maya Ke Severson and the staff of the Vanderhoef Studio Theatre and the Mondavi Center.

inDANCE dedicates 16 Shades of Red to the memory of Linda Caldwell.

16 SHADES OF RED | MAY 12–13, 2018

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MAY 12: 16 SHADES OF RED (CHAPTER 1) 1. Todayam/Salam Sabdam (musical prelude) Our performance opens, as did most performances of courtesan dance in the 19th century, with the preliminary “jaya jaya,” or todayam, namely the verse “jaya janaki ramana” traditionally attributed to Chinna Tirumalacharya. This piece also inaugurated performances of bhajana and bhagavata mela in the Kaveri delta region as well. This is followed by the verse “mandaramule madanabhiramam” from Lilasuka’s Sri Krishnakarnamritam. This is followed by a short salamsabdam, a composition drawn from the living traditions of coastal Andhra, dedicated to Serfoji II of Tanjavur.

2. Salam Daruvu The Salam Daruvu (“salutation song”) chosen from the repertoire of the courtesans of coastal Andhra Pradesh, is dedicated to Pratapasimha and Serfoji II, two Kings of Tanjavur. It is performed in the raga Mohana, and Chaturasra Eka tala. The composition is performed in characteristically fluctuating speeds which was a hallmark of of the performance practices of this region. Each verse concludes with the salutation salam (“salutations”) performed in the colonial military style, accounting for the name of the genre.

Adorned with jewels, your forehead marked with sweet musk, shimmering cloth tied around your waist, brilliant, your fragrance streaming through the air, sweet words dripping like honey from your lips, You live in Tanjavur, and the best qualities reside in you.

King Pratapasimha, Salam!

Come, arrogant one, all my people are mocking me.

Indeed you are the head of a royal clan, but the God of Love pesters me; must you stay away?

You have no equal, Ruler of this Great City!

Great Hero, O valiant King Serfoji, I bow to you countless times, Saheb! Salam! Salam!

3. Varnam: Danike Tagujanara

She came to your royal bed.

Go to the bed-chamber now! Make love to her!

She can play Kama’s games like no other woman!

The composition is in Todi raga and Rupaka tala, and is attributed to Sivanandam of the Tanjavur Quartet (1808– 1863).

4. Padam: Atikati The padam is a lyrical song that usually represents forms of desire or erotic indifference from a woman’s perspective. This unique padam is one in which the heroine is adamant about about not wanting to unite with the hero who has been trying to get close to her: Who is this man who catches hold of my hand, time and

time again, o friend?

Even if I were to hide myself inside a plant, he wouldn’t

leave me, and would seek me out, mocking me, and asking me to

come to him.

Is it fair for him to touch me? Even when I say I will not

come to him, he tries to draw me close.

Tell me, can a mango fall from a tree by the mere utterance

of a magic spell?

He catches a hold of the end of my sari! How could he do this?

Tell me what you think I should do, my friend!

This composition is in Suruti raga, Rupaka tala, and is attributed to the poet Vaidisvarankoyil Subbarama Aiyar (1829–1880).

5. Javali: Attavaru This javali, a short Telugu-language lyric from the salon repertoire of the courtesans of coastal Andhra, is another song sung from the heroine’s perspective. Here, the heroine is a married woman who is involved in an extramarital affair:

This Varnam (“color, praise song”) from the court of Tanjavur is a highly complex dance genre that alternates between abstract movement and poetic interpretation. Composed even as Tanjavur was being annexed to the British Raj, it is in praise of Sivaji II, son of Serfoji II, and last king of Tanjavur.

Though a staple in the courtesan repertoire until around 1940, it is rarely heard in South India today, perhaps because it speaks openly about desire from a woman’s perspective. In the text of this piece, the heroine’s confidante speaks to the king on her friend’s behalf: She is fit to be made love to. Satisfy her now.

King Sivaji, you worship the Great Lord Siva, you are the repository of all kinds of riches, observe how she doesn’t hide her desire.

16 SHADES OF RED | MAY 12–13, 2018

My in-laws call me, Krishna.

I’m not lying, I’m leaving for my town now.

Had I known of your love for me earlier, I would have pleaded with my parents to give me in

marriage to you.

Handsome one! I can’t stand to be without you for even a

second!

Embrace me, full of desire, bring me close, and show me

your love!

This is in a kind of hybrid raga that draws upon Kedaragaula, and Chaturasra Eka tala.

Chapter 1 con’t. on next page

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Chapter 1 con’t.

6. Tillana: Mandari The tillana is largely a piece of abstract movement in which clusters of rhythmic phrases are organized into phrases known as mey-adavus, poy-adavus and korvais in Tamil.

These phrases are performed to a single line of music that is repeated again and again. A signature piece of the late dance master K.P. Kittappa Pillai, this tillana is in the raga Mandari and Adi tala. It is a composition of Ponnaiya of the Quartet (1804–1864), and ends with the following Telugu verse: Oh beautiful and handsome youth, fair in conduct and beautiful to behold, this girl praises you repeatedly in her heart, having seen you close by.

Stealthy lover, hear her cries of distress..

MAY 13: 16 SHADES OF RED (CHAPTER 2)

1. Ganapati Varugai and Chandikesvara Kautuvam (musical prelude) This performance opens with an excerpt from the Sarabhendra Bhupala Kuravanji dedicated to the god Ganesa, and a short rhythmic piece dedicated to the god Chandikesa. The Sarabhendra Bhupala Kuravanji is a Tamil musical drama dedicated to King Serfoji II of Tanjavur (1798–1832). It was written by his court poet Sivakkolundu Desikar, and the music was set by Ponnaiya of the Tanjavur Quartet (1804–1864). The kuravanji was enacted by devadasis inside the Brihadishvara temple once a year during the annual temple festival (brahmotsavam) in the Tamil month of Chittirai (April–May) until the 1940s. The musical prelude “ganapati vandare” in Sri raga and Adi tala, marked the beginning of the drama. This will be followed by the Chandikesvara Kautuvam, dedicated to the guardian deity Chandikesa. It is one of the five panchamurti kautuvams recited by nattuvanars on the day of Arudra Darsanam at the Brihadisvara temple. Although in an earlier time this kautuvam may have had words, only the solkattu (rhythmic recitation) has come down to us through the hereditary repertoire of the descendants of the Tanjavur Quartet.

2. Rudraganika Kavutuvam (Darukavana Mahalinga Kavutuvam) This is a composition attributed to Tirugokarnam Ramasvami Nattuvanar (1768–1836), who was one of the nattuvanars associated with Tirugokarnam Brihadambal temple, the clan temple of the Tondaiman rulers of the Pudukkottai kingdom. It also appears in the Natanadi Vadya Ranjanam, an early Tamil print source compiled by Pasuvandanai Gangaimuttu Nattuvanar (1837-1920) in the year 1898. The composition itself describes the origin of devadasis who in some Saiva ritual contexts are known as rudraganikas (“Siva’s courtesans”). The song narrates an origin myth for the rudraganikas. The myth is a reworking of the famous Puranic narrative in which Siva enters the Darukavana or Forest of Pines in order to subdue the egos of arrogant sages. In this version of the myth, the wives of sages are infatuated with Siva, and from their desire are born girl children, who are subsequently taught dance by Nandideva and serve Siva in his temples. Meanwhile, the sages, infuriated by the infidelity of their wives, attempt to destroy Siva by performing a magical yajna from which appear a number of weapons and demonic forces. Siva subdues them all, and dances in the Forest of Pines, accompanied by Brahma and Vishnu, the sages, demons, and bhutas. This piece is in Vasanta raga and Chaturasra Eka tala.

3. Selections from Sarabhendra Bhupala Kuravanji The Sarabhendra Bhupala Kuravanji is an early-19th century musical drama in the minor Tamil literary genre known as kuravanji. Kuravanji is a form named after the hill-dwelling kuravar tribes who are depicted in the texts as bird catchers and fortune tellers. A kuravanji drama has a stereotypic plot. A heroine, usually a princess or aristocratic figure, sees the hero (usually a king or sometimes a temple deity) in procession. She swoons and becomes lovesick. Her companion unsuccessfully attempts to ease her pain, and so a hill-dwelling kuratti or fortune teller is called. The woman comes to the heroine’s quarters, and diagnoses the heroine’s illness as lovesickness. She offers to read the palm of the heroine, and divines that one day she will be united with her beloved. The kuratti is richly rewarded and returns back to her mountain home, where her bird-catcher husband, known as singan, has been waiting for her return.

He asks the kuratti where she has been, and she narrates her adventures to him, and the drama ends with their blissful union. . The narrative of kuravanji texts play on themes such as the difference between urban and rural spaces, (uppercaste) nobles and (lower-caste) tribals, men and women, love and work, separation and union, and notions of the sacred and the profane.

Chapter 2 con’t. on next page 16 SHADES OF RED | MAY 12–13, 2018

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Chapter 2 con’t.

inDANCE’s staging of the Sarabhendra Bhupala Kuravanji consists of a condensed selection of 11 songs from among the 41 songs that constituted the full performance of the dance by courtesans at the Brihadishvara temple’s annual festival (chittirai brahmotsavam) until approximately 1943. a. Dedication to Shiva as Lord of the Moon (raga: Kambhoji) b. Announcement of Madanavalli’s Entrance (raga: Bilahari; tala: Misrachapu) c. Madanavalli Enters (raga : Saurashtram; tala: Misrachapu) d. Madanavalli Pines through the Year (raga: Pantuvarali; tala: Misrachapu) e. Madanavalli’s Friends Arrive (raga: Saveri; tala: Adi) f. Madanavalli Admonishes the Moon (raga: Ahiri; tala: Misrachapu)

4a. Tanjavuri Lavani Lavani is a genre of erotic poetry in the Marathi language that in Maharashtra is performed by professional female artists largely belonging to the Kolhati caste. It was brought to the Tamil-speaking southern region of Tanjavur at the very beginning of the nineteenth century through a poet named Tukkan Geer (c. 1750-1815) and his Muslim disciple Syed Umar Sahib (1765-1834). At the Tanjavur court, however, lavani was reconfigured as the domain of largely male poets. These poems would sometimes be interpreted by female courtesan performers. The poets were organized into guilds called tura or akhada, and would stage public poetry competitions which were sponsored by the Tanjavur court administration, particularly during the rule of Sivaji II, son of Serfoji. The lavani we have chosen to interpret is one attributed to Chitrakavi Shivram Rao (b. 1869), one of the most prolific composers of Tanjavuri Lavani, who was greatly inspired by the poet Venkat Rao (d. 1900). In this lavani, the poet sings: : Hey lady with breasts like the Sajira and Gojira Hills!

What do you say about getting together with me?

You are more beautiful than anything that can be conceptualized by the God of Desire himself!

Come! Let’s have sexual union and fulfill our desires!

Come, let’s make Venkat Rao happy by allowing him to observe this union of Krishna!

g. The Idea of the Fortune-Telling Kura Woman (raga: Begada; tala: Adi) h. The Fortune-Telling Kura Woman Enters (raga: Gaulipantu; tala: Misrachapu) i.

The Kura Woman Sings in Praise of Thanjavur and Serfoji (raga: Paras; tala: Tisragati Adi)

j. The Kura Woman Sings about her Tribe (raga: Saurashtram; tala: Tisragati Adi) k. The Kura Woman Sings about her Skills and her Visits to Sacred Mountains (raga: Anandabhairavi; tala: Tisragati Adi) l. The Kura Woman divines Mandanavalli’s fortune (raga: Bauli, tala: Tisragati) m. The Kura Woman’s Husband (Singan) Enters (raga: Madhyamavati; tala: Tisragati Adi)

The melodic aspect of this lavani represents one of the earliest musical adaptations of the North Indian raga Bhairavi (as the South Indian “Sindhubhairavi”) into the musical traditions of the South.

4b. Sabda Pallavi A composition that mirrors the more popular Tillana, the Sabda Pallavi is drawn from the repertoire of the courtesans of coastal Andhra Pradesh. It provides the performers with an opportunity to demonstrate virtuosity in rhythmic dance. It consists of one line of rhythmic syllables (sabdalu) set to a melody in the raga Anandabhairavi. Clusters of dynamic rhythmic movement in varying speeds are performed as the single melodic refrain is sung again and again.

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ARTIST BIOGRAPHIES John Carr is professor emeritus of theater at Wesleyan University. In addition to multiple designs for Hari Krishnan/ inDANCE, he has designed for Richard Bull, Dances for 2, Douglas Dunn, Susan Foster, Deborah Hay, and almost all faculty dance concerts and theater productions at Wesleyan from 1984 to 2015, as well as productions at other American universities such as Connecticut College, Manhattanville College and Fairfield University. Professional theater projects include lighting for the Folger Theatre, Hartford Stage Company, National Players, the Shubert Theater, Theater for the New City, DTW and Skin, Meat, Bone, by Robert Wilson and Alvin Lucier. His international projects include the lighting for Death and the Maiden at the New Wolsey Theatre in Ipswich, U.K., Bury Me Under the Baseboard and Crime and Punishment at the Bulandra Theatre in Bucharest.

With almost 20-years experience in audience and program development, Shana Hillman is especially interested in sustainability in the nonprofit sector and helping companies create deeper value and meaning for their communities. In addition to her 18 years with inDANCE as its producer and general manager, Hillman is currently the executive director of East End Arts, an incubated project of the Toronto Arts Foundation. An active volunteer, Hillman is the secretary of the Toronto Alliance for the Performing Arts and sits on the steering committee for ArtsVote 2018.

Hari Krishnan is a Bessie (New York City) and Dora (Toronto) Award-nominee dance artist, scholar and teacher.

He is associate professor of dance in the Department of Dance at Wesleyan University and artistic director of Toronto-based company inDANCE. He holds a Ph.D. in dance from Texas Woman’s University. He has recently completed a monograph entitled Celluloid Classicism: Early Tamil Cinema and the Making of Modern Bharatanatyam (forthcoming, Wesleyan University Press) and is co-editing a new volume entitled Dance and the Early South Indian Cinema (forthcoming, Oxford University Press). His latest choreography, Black Box 3 will premiere at the Jacob’s Pillow Dance Festival’s Inside/Out series (June 23, 2018) and he will also be one of the Pillow’s scholars-in-residence.

Mithuran Manogaran is an upcoming violinist in North America today. Manogaran started his initial training from Smt. Thanathevy Mithradeva and is now receiving advanced training from Kumbakonam M.R. Gopinath. Along with his brother, Mithuran has co-founded Laya Baktha Percussive Arts Centre, a school teaching both violin and mridangam to students throughout the world. This is his second season with inDANCE.

16 SHADES OF RED | MAY 12–13, 2018

Tara Mohan is a professional stage manager who enjoys working on dance, theater, musicals, and everything in between. She has had the pleasure of working with such companies as Why Not Theatre, Gadfly Dance, ProArteDanza, Luminato, Dance Matters and Toronto Dance Theatre. Mohan is excited to be working with inDANCE one again. Favorite credits include: Cabaret (The LOT), Moving Parts (Fujiwara Dance Inventions), The Seat Next to The King (Minmar Gaslight), Diversion & Fearful Symmetries (ProArteDanza), Oraltorio: A Theatrical MiXtape (MotionLive/IFT Theatre), NOISY (Toronto Dance Theatre) and The Book of Sandalwood (inDANCE).

Srividya Natarajan is a Bharatanatyam dancer, dance instructor, writer, illustrator and academic. A student of Kittappa Pillai and Shyamala Mohan, and trained in Karnatak vocal music by T. Brinda, she has performed the vintage, rigorous yet lyrical Tanjavur style for many decades. As an artistic associate of inDANCE since 2003, she has performed with the company in several national and international productions such as Purnima (2006), The King’s Salon (2009), Box (2010), Fallen Rain (2011) and Gold (2012). She has also written, choreographed, and performed solo and collaborative works (Friend of Mine, Road to Tanjore with Kim Dority, To Capture Time with Jessica O’Neill). A novel, titled The Undoing Dance, based on her Ph.D. research about South Indian classical dance and its performers, will be released in June 2018. She teaches writing at King’s University College at Western University.

Kajajeyan Pararasasegaram is a senior disciple of Miruthanga Vidwan Dr. Gowrishankar Balachandran and has advanced training from maestro, Kalaimamani Sri Thiruvaarur Bakthavathsalam. He has accompanied many leading artists, such as Kalaimamani Sri P. Unnikrishnan, Isai Perarasar Sri Neyveli Santhanagopalan, Kalaimamani Smt. Geetha Rajashekar and Veena Vidwan Sri Rajhesh Vaidya, just to name a few. He has been with the inDANCE family since 2006. Sri Varasiththi Vinaayager Hindu Temple of Toronto honored him with the title of “Laya Gnana Mani.”

Rex (Rajavairan Rajendran) studied art and design with specializations in textiles, fashion and interiors at the Fashion Institute of Technology in New York City. He currently lives in Toronto, directing his own creative design consultancy. His work has been featured on premier soloists, ensembles and companies at prestigious venues in Canada, the U.S., Europe and Asia. Along with dance and theater, Rex works on commissioned interior design projects.

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ARTIST BIOGRAPHIES Vidya Sankaranarayanan is an established dancer, nattuvanar (dance master) and singer in the field of Bharatanatyam. She first learned music from her mother, Smt. Saraswathy Sankaranarayanan and is a senior exponent of the distinguished style of the famous late Shri K. P. Kittappa Pillai. Along with traditional dance, she has also learned the music of Bharatanatyam and the art of nattuvangam under the personal guidance of Guru Kittappa Pillai. She was educated in singing of Padams and nuances of Abhinaya by the late Smt. Lakshmi Knight (daughter and disciple of the legendary Smt. T. Balasaraswathi), where she specialized in singing the Balasaraswathi family style of music. Sankaranarayanan has been performing solo Bharatanatyam for the past three decades in India and in North America. She is the artistic director of Brihadisha School of Music & Dance at Herndon, Virginia, where she teaches music and dance. This is her third season with inDANCE. Davesh Soneji is associate professor in the Department of South Asia Studies at the University of Pennsylvania. He is best known for his work on the social history of professional female artists in Tamil and Telugu-speaking South India and is author of Unfinished Gestures: Devadasis, Memory, and Modernity in South India (University of Chicago Press, 2012), which was awarded the 2013 Bernard S. Cohn Book Prize from the Association for Asian Studies (AAS). He is also editor of Bharatanatyam: A Reader (Oxford, 2010) and co-editor, with Indira Viswanathan Peterson, of Performing Pasts: Reinventing the Arts in Modern South India (Oxford, 2008). He is currently working a new book on the social history of raga-based music in South India from the late 18th to the mid-20th centuries, as well as a collection of his unpublished essays on the social history of Bharatanatyam.

He has been associated with the creative work of Prof. Hari Krishnan for the past two and a half decades and is the associate artistic director of inDANCE.

Vaaraki Wijayaraj is a Toronto-based vocalist, dancer and teacher. Trained vocally by “Suswara Sukhalaya” Smt. Raji Gopalakrishnan, Wijayaraj has been a concert artist and vocalist for dance in various organizations in Canada, the U.S., UK and India for the past 12 years. She has been a part of inDANCE as both a vocalist and dancer since 2011. Wijayaraj holds a master’s in applied psychology and is building her career in the field of addictions and mental health as a therapist while working as a lecturer at Centennial College.

inDANCE is an inimitable, progressive Canadian dance company. It presents works that are a potent, distilled synthesis of artistic director Hari Krishnan’s Asian and western artistic personae. Probing the burdens and legacies of “tradition,” inDANCE disrupts the familiar and evolves new meanings for the archaic, propelling the company on a trajectory that subverts normative political and social lifeworlds. The company pioneers work that is unconventional and transgressive, producing eccentric, sensual, and virtuosic dance that confronts dominant discourses on global culture. inDANCE’s work is continually presented at prestigious international festivals and venues. More info at www.indance.ca

inDANCE is grateful for the generous support of

Shana Hillman—Producer indance@gmail.com indance.ca

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