There’s a kind of sorcery at play in Bharata Natyam, the classical Indian dance form defined by the intricate coordination of rhythmic footwork with body posture, hand gestures and facial expressions. Call it kinetic symbolism; the spell cast over audiences as the dancer conjures characters and stories from refined choreography, technical virtuosity and, sentimental as it may sound, love.  Just as the dancers move on stage, we in the audience are moved in turn.

We have seen from Guru Viji Prakash –the founder of a true Southern California gem, the Shakti Dance Company and School of Bharata Natyam – a number of beautiful dance recitals, all of which have been memorable for their artistic merit and accessibility. Her daughter Mythili Prakash, a singularly accomplished and visionary dancer in her own right, has also become a vital force in demonstrating Bharata Natyam’s potency as an evocative and transformative art form. On Sunday, April 10, mother and daughter called upon their art to celebrate the 150th anniversary of the birth of Rabindranath Tagore, a notable and prolific Bengalese artist whose work encompassed writing, music and painting, and whose accomplishments were recognized with the first Nobel Prize for literature awarded, in 1913, to a non-European. The tribute consisted of an adaptation of Tagore’s Chandalika, about an outcast girl from the “untouchable” class whose encounter with a disciple of Buddha, Ananda, begins as a transcendental experience only to become corrupted by worldly desire. Although typically a dance drama performed by an ensemble, Mythili’s inventive choreography collapses the piece into three parts – Prakriti, her mother, and Ananda – all performed by her. She has already demonstrated an affinity for telling unconventional multi-character stories or at least adopting unconventional viewpoints on traditional tales. Her past Stree Katha, for example, presented the Ramayana from a female perspective, thereby challenging the usual male-centric stance. In Chandalika, the choreography again highlights her ability to successfully express different personas through movement and facial expressions, while also vividly showcasing the sheer emotional power she can wield. As always, the sheer physicality of her dancing is striking for its discipline and grace.

One admittedly novice question that arises on learning about the program is how a dance form tuned for Hinduism can accommodate a Buddhist fable. The answer is not revolutionary, in the sense that any serious interpretive art must be capable of reaching for the universal, but it does lead into the subtleties of Bharata Natyam’s rich vocabulary of movements. The language is sophisticated, adaptable and open to experimentation, especially since many of the hand gestures and poses are, like words and sentences, re-arrangeable in seemingly endless combinations. Hence, Mythili’s performance, though clearly Bharata Natyam, creates a different impression drawn from the story’s spirit. Magic, indeed, as we are offered choreography we haven’t quite seen before, such as the clasped hands and undulating arm motions that embody the snake magic Prakriti’s mother uses to ensnare Ananda.

A dance performance isn’t complete without music, of course, and the achingly beautiful musical accompaniment complements Mythili’s choreography with the careful use of leitmotifs. Arijit Bal’s vocals invoke the blessed presence of Ananda while Sarika Ravindram handles the female parts. The melodies ebb and flow with the mood of the dance, at times jubilant, at other times overcome with passion or mournful. With additional boosts from Venkatesh Krishnan’s clever and dramatic lighting design, Mythili’s staging of Chandalika becomes, as has been the case with her past efforts, an uplifting and enriching theatrical experience.

It would be neglectful, however, not to mention the prologue to Mythili’s performance, which expanded the tribute to Tagore with a remembrance of Anindita Datta, whose vision and influence made her a leading proponent of Bengalese art and culture in Southern California. Poetry came together with dancers from the Shakti Dance Company and School as well as the musical accompaniment of talented musicians, to honour Ms. Datta whose talents, like Tagore, spanned a multitude of disciplines. A highlight, however brief, was an appearance by Kasi Aysola, a protégé of Viji Prakash, whose motive force and poise is as notable as the fact that he is, at least in the U.S., a rare male practitioner of Bharata Natyam. Already demonstrating the discipline and passion driving the kind of dancing that really connects with audiences, it would be entirely reasonable to predict for him a bright future and a career worth following.

Alas, the recital, however touching and memorable, was a one-time event – not even a CD for sale with the score as a memento. However, there are always future recitals. Visit the Shakti Dance Company’s website to find out more.

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