To experiment, there must be no fear. Fear prevents experience. It is fear that makes for identification, identification with another, with a group, with an ideology and so on. Fear must resist, suppress, and in a state of self–defence, how can there be venturing out on uncharted sea?

- thoughts inspired from a reading of J.Krishnamurti’s Commentaries on Living


It is that fearlessness that was abundantly present in the three days of Satkriya 2017 at Narada Gana Sabha hosted as part of the fund raising initiatives for the relocation of The School KFI. This idea was acknowledged in words and in music by T.M.Krishna. It was shown by Lasya in her Simahanandini Nritya, Sheejit Krishna in his Rama Katha, Ganesh Rajagopalan in his impromptu interaction with the audience and most importantly, Bindumalini who sat alone on the large stage sance percussion support in a vast hall.

Satkriya was an experiment in imagination created from a confluence of memories - created by the alumni and parents of the school through their passions, created by the audience through their association with the school, created through the meticulous management of the three day event with utmost sincerity by the teachers of the school.

Satkriya helped create within oneself, a whole world, even a universe. It was poetical educational experimentation on display. Kavirajamarga, a 7th century Kannada work states, ‘An individual who can convey what is to be said to another person in the way intended, knows how to speak, the one who states the same by condensing it such that the meaning of a high order is expressed in brief is an intelligent one, the one who can put one’s words in poetic meter is more intelligent, the one who can compose classical texts without any hindrance is the greatest.” I would add those who can share the joy of music, dance and painting with others giving them an elevation in aesthetic experience are even greater. Satkriya made that possible.

The artists’ skill made them raise their art above the usual range; and they shine over a greater realm because of the uniqueness of their education. It is duty of the sahridaya in the audience to relate to these appropriately and understand them.

I forsake here, a critical review of the performances as the intention here was different. It was to lay afresh the language of their art making it appear like an illustration in a poem that gives evidence of an assurance. And a notion of an education of the past, present and of the future. The artistry of the organization, the painting display and the performances shone with elements of grammar, linguistics, poetic meter, land, language community, culture and politics. Education is limitless.

Simhanandini Nritya by Lasya Mavilapalli and the demonstration of the tala by her guru and mother, Vasanthalakshmi looked at the ancient grammar of a dance, T.M. Krishna extended that to include land and community, Sheejit Krishna fulfilled the last wish of his Guru Rukiminidevi Arundale, who had expressed a desire to choreograph Tulsi Ramayana ten days before her death. What is most endearing is the way the training imparted in Kalakshetra was uitilized to the utmost while charting an entirely new path in choreographing the iconic scenes made so indelible in public memory by her own choreography of Valmiki Ramayana. It must have been a challenge like the one Rama took to string Siva’s bow at Sita’s wedding. The most remarkable scene for me was the pathos expressed by the people of Ayodhya as Rama leaves for the forest forsaking a coronation. Sunken backs, misty eyes peering at the setting sun, sighing over the departure of the light of their lives, confounded, frightened, in despair, the body language and the visualization with many dramatic elements, a master piece.

Then there was Ganesh Rajagopalan, the way he tuned the entire environment by creating a harmony between the singer and the audience with such playful virtuosity. His mastery of the art becoming an intuitive instrument of negotiation. Bindumalini and Ganesh Rajagopalan turned the last evening into some kind of festive theatre with the audience as part of the spectacle.

Satkriya was a confluence of several implied meanings. One still thrills with wonder at it.

By V.R.Devika