Rashmirathi:  (Hindi poem of Ramdhari Singh Dinkar)

Rashtra Kavi Dinkar ji’s celebrated work ‘Rashmirathi’ centring on the poignant and sad life of Karna, the first born child of Kunti whom she had abandoned as he was born before her marriage, presents the poignancy of Karna and Kunti with all hues of human emotions trapped in moral dilemmas.
The production was premiered at Semariya, the birthplace of the poet in 2018 before a crowd of over 20,000 persons. The production later saw several performances in various towns and cities.  (Premiere: 6th December 2018 at Semariya)
Presentation: Dance Ballet/ Group work
Duration: 40 minutes

The Bhagwad- Ma Ganga Dhyayati  (Environment and personal betterment issues)

"The Bhagwad: Ma Ganga Dhyayati" is based on the mulling and bemoaning of Ma Ganga (mother of Bhishma Pitamah) over pollution of her pristine waters through human weaknesses that have constantly been exhibited since the periods of the Ramayan and the Mahabharata, all of which have arisen due to pollution of minds of mankind.  This was expressed through select verses from the Bhagwad Gita and expanded through episodes from the Mahabharata. Set in five Acts, the ballet sought to explore the practice of virtues of abstention from greed, non-egoism, of eschewing pride, anger and desire for revenge, for they spell disaster in the long run as has been exhorted in the Holy Bhagwad Gita. (Premiere: 17th Dec 2018 at Kamani Hall, Delhi)
Presentation: Dance Ballet – Multi Style Collaborative work
Duration: 45-50 minutes
 

Agni Pariksha: (14th Nov 2017 at Kamani Auditorium, New Delhi for the Delhi International Art Festival)

The trial by fire of Sita, her emotions and related issues form the central theme of this production. Sita, who has been abducted by Ravana and has been kept in Ashok Vatika for few years before he is killed by Rama, has raised the issue of whether Sita had submitted to him or not. To prove that she had been ever faithful to Rama, she undergoes the test of fire from whence she emerges unscathed. The issue that has always been a subject of discussion is whether it was a voluntary act or whether it was thrust upon her. Tulsidas in his Ramcharitamanas (written in 16th century) describes the episode as would a devotee (‘bhakta’) whereas Bakmiki’s Ramayan (written more than 2000 years prior to that of Ramcharitamanas), views Rama not from the point of view of a devotee. Balmiki therefore is forthright and questioning in his approach as would be contemporary thoughts. 
Thus Agni Pariksha brings out the two perspectives. Starting from Tulsidas’s perspective (to verses in Awadhi) it moves on to Balmiki’s perspective (originally written in Sanskrit) where it is articulated through the Hindi poem of Kamala Singhvi. The rendition of the Hindi poem is in the soliloquy mode.
This bold and forthright piece was first performed in the Sahitya Kala Parishad Dance Festival held at Central Park, New Delhi in 1988, followed by several shows. 
The original music score was by Pt Jwala Prasad but in the 2017 version, the music was given by Madho Prasad.

Presentation: Collaborative work
Duration: 20 minutes

“Om Namo:  Ganga-Shivay Namah” – Danube Ganges Festival, Hungary

Ganga, sacred river for people of the sub-continent, is the life giver. She (River Ganga), symbolises the ever flowing ‘prana’ – breath in the mortal body as also purity and the power to purify. Based on the lyrics of Adi Shankaracharya and Ravana, the item, “Om Namo:  Ganga-Shivay namah” embodies the spirit of benediction to ‘ga’ that which flows through the ‘anga’, body, causing movements - the dance of life. Residing in the tresses of Lord Shiva, the ‘Auspicious One’, the flowing meditative movements give way to the ‘tandava’, rhythmic virility of the cosmic dancer, Shiva. Immersed in his benevolence, the dancers seek ‘moksha’, liberation, from ignorance that leads to the melody of self-realization’. Music: Madho Prasad

Presentation: Group presentation
Duration: 15-20 minutes

“Nayikas of Vidyapati” – with 6 classical dance styles and 10 artistes

Vidyapati, the fourteenth century Maithil Kavi Kokil, blazed a trail in the eastern part of India, inspiring Bengali and Odiya literature, "analogous to that of Dante in Italy and Chaucer in England."
Yearning of the soul for union with the universal soul, the Almighty and individual self-realization through direct love, a key feature of Hinduism, empowered the common man to realize God directly. In this context, the love poems of Vidyapati between Radha and Krishna symbolic of the soul and the universal soul, resonates with devotion, emotion and sensuality. If, according to Lou Ratte in ‘The Uncolonised Heart’, Jaidev while relying on external nature, depicted sensual love and enjoyment experienced by Radha and Krishna, then Vidyapati went beyond the senses to the inner heart, baring the heart and reflecting the pain in this voyage.
For the first time ever, the Dance Festival titled “Vidyapati ki Nayika” featured 10 dancers from six classical dance styles (Kathak, Odissi, Mohinyattam, Bharatanatyam, Kuchipudi and Manipuri) performing to Vidyapati’s poems. This was premiered at Stein Auditorium in the LalitArpan Festival in 2016.  

Presentation: National Collaborative work
Duration: 100 minutes
 

“Ghunghat” (The Veil) – SNA Meghdoot Theatre

The spirit of social activism is deep-seeded in Shovana. And it is this spirit that led her to Ismat Chugtai’s Ghunghat (The Veil) which is a poignant tale of how two lives can be ruined by social and cultural conventions combined with ego and mental subjugation to social norms. The unparalleled beauty of the young bride induces unknown fear and complex within her husband. His male ego prompts him to order her to remove her veil – herself - on the bridal night. But she, schooled under cultural conventions waits for him to unveil her. Angered he walks out on her. She is agonised. Years later he returns - but history is found repeating itself. Years pass and she, an old woman, is still waiting for his return and longing for acceptance as a wife. He returns and this time, defying all social and cultural norms, she decides to unveil herself before being ordered to do so. But does she experience the long lost happiness or is it too late? 

Presentation: Group work
Duration: 25-30 minutes

"Ramatva" (on 27th April, 2015) – SNA Meghdoot Theatre

Maryada Purushottam, the essence of good, the king who governs a Ram Rajya, who fights all kinds of demons –within and without- to attain his wife and then forsakes her…… Ram and Ramatva have now come to denote various qualities –some far removed from the virtuous embodiment which Rama had come to denote in earlier times.
An effort was made to demystify Rama or possibly, add to the complexity of this figure who behaved in manners contradictory.
The pieces included the dialogue between Bharat and his wife Madhavi on the reasons for the delay in Rama’s arrival after completion of his exile and the future status of the ‘padukas’, the ego of the dhobi and his treatment of his wife and the contemporary stand of a woman of today based on the poem “Ram mai tumhe maaf nahi kar sakti” based on a poem by Kamala Singhvi rendered as a powerful and moving soliloquy by Shovana.        
Presentation: Group work
Duration: 25-30 minutes
 

“Karna-Kunti Samvad: Rashmi Rathi” – Wardha

The poignant exchange between Karna and Kunti, hours before the start of the Mahabharata battle, was portrayed by Shovana movingly in a soliloquy form. The heart wrenching rendering left several moist eyes in the auditorium. 
This piece from Chapter 5 of Dinkar’s celebrated work ‘Rashmirathi’ presents the poignancy of Karna and Kunti with all hues of human emotions trapped in moral dilemmas. Kunti, a mother who had abandoned her son Karna at birth, but knowing fully well Karna’s unmatched prowess in the art of warfare, now seeks Karna’s assistance in the battle against the Kauravas at the hour of approaching battle. Where was she, Karna asks in pain, when he, despite being noble born, had had to face the ridicule of society for being brought up as a lowly person’s son? Why should he turn against his benefactor, the Kauravas, who not only gave him shelter but also respect and honour? 
Outspoken, acerbic, and unambiguous in his condemnation of her actions, past and present, and even though foreseeing a defeat for the Kauravas, Karna declines Kunti’s request to cross sides. He however, offers Kunti the consolation that he will not kill all her sons: he will either kill Arjuna or be killed by him, so that she will still remain the mother of five sons! He says that the war is quite pointless yet it is a destiny that has to be fulfilled.

Presentation: Duet work
Duration: 20 minutes

“Motilal Nandi” - from Khapchhada ie Nonsense Rhymes of Rabindranath Tagore

It was a challenge when Shovana Narayan was requested to translate and interpret, through dance one of the ‘nonsensical’ verse from the Khapchhada series of Rabindranath Tagore. Since it was ‘nonsensical’, the challenge of interpretation of this form of ‘hasya rasa’ was enormous. Going through the poems, she found ‘sense’ in the ‘nonsense’ for the ‘nonsense’ stories and verses had identifiable characters and simple understandable plots. Taking up the challenge she chose the piece on Motilal Nandi, a character that all could identify with. How often in all our lives, learning of grammar and vocabulary have eluded us and left us frustrated. So was it with Motilal Nandi! 

Presentation: Duet work
Duration: 20 minutes

"Motilal Nandi" - from Khapchhada ie Nonsense Rhymes of Rabindranath Tagore It was a challenge when Shovana Narayan was requested to translate and interpret, through dance one of the 'nonsensical' verse from the Khapchhada series of Rabindranath Tagore. Since it was 'nonsensical', the challenge of interpretation of this form of 'hasya rasa' was enormous. Going through the poems, she found 'sense' in the 'nonsense' for the 'nonsense' stories and verses had identifiable characters and simple understandable plots. Taking up the challenge she chose the piece on Motilal Nandi, a character that all could identify with. How often in all our lives, learning of grammar and vocabulary have eluded us and left us frustrated. So was it with Motilal Nandi!

"Jehanara" Through the story of "Jehanara", the crusader spirit within Shovana Narayan and her sensitivity saw her once again drawing attention to women and social issues that are no different today than it was in yester years. Indirectly, through this ballet, questions being asked were:
a) However powerful one may be, but is empowerment at hand to follow one's heart?
b) However 'developed' the world may be, but is cruelty of society and of the powerful not visible at every step? Is this not visible even today? Such and many more questions ..................

Kadambari: The Poet's Muse (2012) The long association of Shovana Narayan's parents with the extended family and works of Nobel Laureate, Rabindranath Tagore evoked a natural interest in the life of this extraordinarily talented visionary who became a trendsetter in several ways. In this voyage, the mysterious Kadambari, sister-in-law of Tagore, became a source of fascination and resulted in this dance enactment.

Throughout Tagore's works, the influence of Kadambari, is unmistakable and is also evident. Four aspects of her influences were undertaken that find resonance in Tagore's works: her love for nature; her love for tradition and yet an inquiring open mind; her compassion and understanding of the common man's woes, desires (emanating from her own simplistic background); her unfulfilled desire of motherhood, parting of parent and child and the mindset of society. These four influences became the pegs around which the dance ballet revolved.

Even the song "Tobu mone rekho", written in 1888, four years after the suicide of Kadambari, his sister-in-law, and which was sung by Tagore himself in a recording shortly before his death, indicated his life-long emotional relationship with Kadambari and her never forgotten influence on him. Appropriately, the dance ballet production opened with this old recording of the song in Tagore's voice.

"Bidrohi" (2012) of Kazi Nazrul Islam with Mahbub Hassan Saleh, Deputy High Commissioner of Bangladesh What is it that has forged a bond between Bangladesh's National poet Kazi Nazrul Islam and Shovana Narayan? Did the great Bengali poet and musician's intense spiritual rebellion against oppression and injustice reflected in his poems find echo in the graceful but intense activist spirit of Shovana? Apparently so, for on three occasions, Shovana has been seen performing to Nazrul's most famous poem 'Bidrohi'. In the third staging, she teamed up with Mahbub Hassan Saleh, Deputy High Commissioner of Bangladesh in Delhi to celebrate the 90th year of the epic poem 'Bidrohi' by Kazi Nazrul Islam, introspecting on the various shades of rebellion that upsurges within man, some silently, some visibly, reflecting a panorama of emotions.

"Shuoranir Shaad": Tagore's short stories have explored the canvas of human psychology in all its hues. In pursuit of happiness, keeping the unwelcome sorrow at bay, man is constantly chasing 'maya'. However this is merely mirage in the ocean of the great desert of life, as the desire to imitate and possess what others have, stemming from envy, consists in seeing things never in themselves, but only in their relations, from whence arises shame at being humiliated for our behaviour. Experience holding an invisible mirror reflects the true inner self of who we really are and the realization that happiness does not lie in the satisfaction of desires. To belittle, the person has to be little. That which causes through trials, emerges strongest. A gem shines only after enduring great friction as does steel emerge strong after passing through several tests in fire. Out of suffering have emerged the strongest souls. "Shuoranir Shaad" was introspection by Shuorani, the Queen of Happiness through her encounters with Duorani, the Queen of Sorrow. The story is an in-depth inquiry into the relationship between desire and envy, imitation and original, happiness and sorrow.

'Ladli - Do Anubhav' By ruthlessly killing the female foetus right in its sacred womb itself, we are guilty of killing a being - a being that would have nourished and perpetuated mankind; a being of unassailable divine fertility; a being that is symbol of strength and replenishing compassion; a being of ubiquitous fragrance, panoramic beauty and bonding equality! She, Ladli, too is life and has the right to live. She too is a being, equal to her brother. She is one who holds half the sky. So then why deny her laughter, her pains, sorrows and joys?

'Ladli - Do Anubhav' drew attention to the raging malaise of female foeticide. It dwelt on the cry of the foetus asking for her right to live, love, experience pain, sorrow, joy and happiness. Who are we then to snatch this away from her?