Ragamala Dance Company: “Children of Dharma”
Indian classical dance displayed with elegance and dramatic flair.
Aparna Ramaswamy in a scene from the Ragamala Dance Company’s production of “Children of Dharma” (Photo credit: Arum Kumar)
The exquisite art of the classical dance of India nearly disappeared after the British conquered the subcontinent. Sadly, at that time many South Asian traditions and art forms—clearly more sensual and subject to the whims of hundreds of gods and goddesses—were brutally vanquished. Add to this the pressure over the centuries of an ever-increasing influence of other cultures as technology improved communication and the exchange of ideas.
For over thirty years the Ragamala Dance Company has championed Indian Classical Dance which, fortunately for the world, has survived beautifully.
Three major styles are widely performed across India: Odissi, Khatakhali and Bharatanatyam. The Ragamala Dance Company specializes in the latter that features curved body lines, expressive hands (mudras) and softly stomping feet fitted with ankle bells. Eyes are particularly important in Bharatanatyam as are positions of the head.
The troupe, led by a mother and two daughters—Aparna Ramaswamy, Ranee Ramaswamy (mother) and Ashwini Ramaswamy—presented “Children of Dharma,” based on elements of the famous Hindu epic The Mahabharata.
A scene from the Ragamala Dance Company’s production of “Children of Dharma” (Photo credit: Luis Luque)
A totally original interpretation of this age-old story, it is a complicated tale about Krishna, “the embodiment of nature,” (a bare-chested Garrett Sour wearing just a plain dhoti), somewhat explicated by a voiceover narration recited by Leon Conrad. Two other characters dominate: Draupati whose epic dice game incites an epic war and Gandari, who tragically loses and mourns her many children.
Krishna’s slow travelling solo accompanied by sonorous throat singing opened “Dharma,” presenting this god as a gently sensuous creature; but looks were deceiving as the god showed his nastier side later.
Ranee Ramaswamy played the complex character Gandari who retires from the world. Her appearance late in the ballet was starkly emotional, emotions spun from brilliant dancing.
It took some patience to absorb all the goings-on, but was well worth the effort.
Aside from the two dancers mentioned above, the small troupe included the two sisters, Aparna and Ashhwini plus Jessica Fiala, Jothika Gurur and Tamara Nadel.
A scene from the Ragamala Dance Company’s production of “Children of Dharma” (Photo credit: Arum Kumar)
The pre-recorded score featured original compositions by Ranee, percussionist S. Sakthivel Muruganantham and Prema Ramamurthy. The sound of flutes and the gentle drumming dominated.
The simple set of several hanging vertical white panels, sometimes backed by projections of Indian sculpture kept the dancing front and center. Designed by Willy Cessa who also did the subtle lighting, they framed the choreography gracefully.
The vigorous footwork and mostly clear mime filled the Joyce stage with rhythm and grace while the colorful costumes by D.S. Aiyellu —traditional, pleated variations on the sari—jewelry, and complex hairdos breathed glamour into the storytelling.
Ragamala Dance Company (through January 12, 2025)
The Joyce Theater, 175 Eighth Avenue at 19th Street, in Manhattan
For tickets, call 212-242-0800 or visit http://www.Joyce.org
Running time: 75 minutes without an intermission
Indian classical dance displayed with elegance and dramatic flair.
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