(Vakkom Sajeev and Madhu Gopinath)
Have you
ever seen beads breaking off from a string and falling one by one on the
ground, galloping happily, going and hiding in the places that you often find difficult
to reach? Cinematic imaginations have done this both in speed and slow motions
in order to highlight both love and violence. A pair of sensuous parting lips
in the medium range shot and slightly out of focus, and in the tight focus a
stream of beads falling one after another accompanied by the tickling
resonations of sitar strings; that is love or love making. When the same shot
set in a different sonic ambience and torrent of beads ends up in a drop of
blood, the scene could be an act of violation. Beads are like that.
Cascading
beads from an accidently broken string could take you to a different plane of
sensation. I would call it a spiritual sensation. That’s what exactly happened
when Madhu Gopinath, one of the lead dancers of the Samudra Dance Group from
Trivandrum, let his necklace break and the beads spill when he was performing
with his identical pair Sajeev Vakkom, an exquisite performer and choreographer
at the Tagore Theatre in Chandigarh. I was in the second row from the stage and
I could have a better view of the dancers as if I was seeing them caught in a
permanent zoom in mode.
The necklace
broke and the beads fell one after another, at times tracing out the body
contour of Madhu Gopinath and at times like truant school boys running away
from their teacher, uproarious in their own mirthfulness. Finally the locket,
gold plated and made out of thin metal sheet with embossed symbols fell on the
wooden platform of that wonderful proscenium stage. Sajeev was flying like, if
I use the expression that Vandana Shukla of Tribune was using sitting just
behind me, ‘a flamingo’. I have seen migratory birds flitting across the sky
during their roosting time at twilight. They make godly formations of
aerodynamics. Sajeev, Madhu and their troupe members were doing the same.
(From their production, Jalam)
They were
like flamingos; but flamingos not permanently floating in the air. They came
down on the ground, stamping their feet to the rhythm of music and percussion.
I saw the beads moving on the stage and the metal locket lying down there. The
dancers stamped and jumped, they floated and flowed like thick fluids thrown
into a differently lit large container that the stage was. The moved like the
spangles of light in a electrically lit lantern. They moved as if they were the
embodiment of movement itself.
But I was in
throes. I was watching the movement of the beads and the locket. I knew the
landing of the dancers’ feet was so subtle and momentary that an accidental
stepping on one of them could have thrown them out of balance. While Madhu and
Sajeev rolled on the stage like waves of water, making their brown complexion
to merge with the lacquer of the oak panels on the floor I thought the beads
would hurt their body. I moved and sat at the edge of the seat as if I were
witnessing a suspense thriller. I was feeling the pain on my soles and I was
feeling the pressure on my shoulder muscles. The pain was akin to the pain that
Maria had experienced in ‘Eleven Minutes’ when she walked barefooted on sharp
pebbles submerged in ice cold water. And lo.. to my surprise I found the beads
moving on their own away from the body of the dancers. They were behaving as if
they had their own lives and they wanted to save the dancers from the pain of
accidental collisions and collapsing on the stage thanks to them.
“I shiver
and goose pimples come all over me,” says Madhu Gopinath, when I meet him on
the next day of the performance. I was there at the Nek Chand Rock Garden,
feeling myself like a tourist. Madhu, Sajeev and their team were also there
seeing the wonders in the sculpture garden. When I narrated my spiritual
experience while looking at the beads and their bodies moving over them, Madhu
said something that made me happy about my own conclusions: “There have been a
lot of breaking of ornaments on stage in our dancing career. But till date they
have never hurt us.” Sajeev Vakkom endorses the fact. Madhu says that the
necklace was hurting his neck like anything as the locket had a rough edge
which he could not polish before he entered the stage. “And I thought it was
necessary to get rid of it. So with a covert movement I broke it,” Madhu tells
me.
(Madhu Gopinath and Sajeev Vakkom, a few years back)
I hug them.
And I take a photograph with them. I had gone to the greenroom on the previous
night after their performance. The performance conceptualized and choreographed
by Sajeev and Madhu is titled ‘Jalam’ (Water). It shows how water has emotions
like human beings. How water gets happy when people live one with nature and
how it gets angry when it is exploited and curbed through damming. And the
meeting at the greenroom was an overdue meeting. I hugged Sajeev and Madhu and
spoke to the rest of the team.
There is
reason when I say the meeting was overdue. Ten years back, when Sajeev and
Madhu from my village (Vakkom and Chirayinkeezhu respectively) established their
dance troupe, ‘Samudra’ in Trivandrum, they had called me for my blessings. I
did not know what I could do for them. They told me that they expected an
article written by me on them. I had agreed but I could never fulfil their
request or lovable demand. So the meeting now was a sort of atonement. However,
I have been following their programs through internet and newspaper articles. I
was so happy to meet these two young dancers in an unexpected place and
fashion.
Sajeev and
Madhu have travelled all over the world. Perhaps they are the most famous
contemporary dance troupe in India today. Perhaps you would not believe that the
opening ceremony of Commonwealth Games and Venice Biennale were choreographed
by these two young men from my village. They have also choreographed for a few
movies.
(Madhu Gopinath, JohnyML and Sajeev Vakkom at Nek Chand Sculpture Garden in Chandigarh)
The journey
for these two village boys was not so easy. During their school days (we
studied in the same school) itself they were learning Bharatanatyam. Then they
learned Kalarippayattu and many other traditional dance forms. They went ahead
to learn contemporary ballet and choreography from several world masters. And
you should know all these while they also learned plumbing and fitting as their
parents insisted. They did not believe, fifteen years back that these boys
could eke out a living by dancing!
They globe
trot these days. But when you see them they are not jet lagged. They don’t
throw their weight around. I was shocked when Sajeev and Madhu told me the
following: “Brother, we need to sit with you and discuss a lot. We don’t know
how to go about with offers. We get a lot of offers. You should advice us.” I
was humbled. I hugged them again. I am no authority to advise this
internationally known choreographers. Still, the love and confident that they
showed towards me brought tears into my eyes. “Whatever I could do, I will do
for you,” I told them.
(Madhu, Sajeev and two other members of their team striking a pose for me)
Before I
close this short note on my favourite dancers from my village and its
neighbourhood, let me tell you one more thing. Sajeev and Madhu look identical
twins. But they are not. They are from neighbouring villages and do not have
any blood relationship. “Wherever we go people ask us this question whether we
were brothers or twins. But god destined it to be like this. We met in one of
the dance competitions and ever since we are together,” says Sajeev Vakkom. And
both of them are happily married to their wives with kids.
2 comments:
you rocks sir....! best of luck...! we missing you soo much
you rocks sir....! best of luck...! we missing you soo much next time you will come punjab we surely meet next time....!
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