Eyes open wider

I took me a couple of weeks to get over the whole ‘Bharatanatyam’ shoot. I don’t know why, it never takes me this long to absorb something extraordinary and I tend to produce very varied stock for my brand - Photosindia.com. It was probably some latent disappointment regarding my own experience with ‘Bharatanatyam’ that did it, I wasn’t great at it but I am sure I could have pursued it longer such to let the grace and discipline seep into my everyday life. Anyway, I kind of obsessed with the idea of exploring the various dance forms our country had to offer. And if you are still gaping at the number of languages, cuisines and cultures we actually have, then this topic will surely amaze you. Almost every state of India and we have 28, has a dance form they call their own. That meant I needed to get cracking, book my studio space with our Creative Director and get a hold of all these lovely artists. My endeavours were well rewarded within weeks. I found just the right person for one of India’s most awe inspiring dances – Kathakali. Certain elements remain common to all dances of India, they are storytelling personified and they are all extremely graceful, vibrant and emotional. But ‘Kathakali’ is just a wee bit more of all the adjectives I have used. Kathakali is the traditional dance-drama of Kerala, the way ‘Bharatanatyam’ traces its roots to Tamil Nadu and it is sheer, raw ‘power’. That’s the best word to describe it.



The day of the shoot started early. Our model was a veteran performer very keen to enlighten us about the nuances of Kathakali. He had prepared us for a 3 hour makeup session and we all thought he was exaggerating, apparently …. He was not. The first hour he lay motionless on the floor, while his team prepared colored pastes in little bowls made of coconut shells. It’s this kind of quaintness that always gets me. I mean, this man has a mobile phone, he probably downloads his performances from the video camera to DVD and yet they didn’t start getting him ready till the traditional brass lamp was lit and a little prayer was said. I always knew that most of the south Indian dance forms were rooted in Hindu mythology but this was true devotion. The base coats on his face took longer than a fashion model's makeup, then came the colors – rich parrot green, bleeding orange and the stark yellow of the ‘tilaka’. The makeup itself that transformed this man into a living caricature, a living, breathing mythical creature from way back into our past. He seemed to loom larger than he was when he came in. One by one, ornaments came out of an old, dented trunk (there was the quaintness again).



I noticed him change from an ordinary person to a revered character, his team was all over him, cajoling him like he was a child, adoring him like they were his mothers and keeping his comfort our utmost priority. There were steel talons on one hand, headgear that rose a foot in the air and solid gold arm bands that I had never noticed before. In a way it saddened me, I had seen quite a few performances in the last 15 years and I never stopped to notice these fantastic details. Sure enough, it took him 3 hours to get ready and all I could think of was how an Amazonian state like Kerala could have a dance form that requires a thermal costume weighing over 8 kilos?? This had to be true devotion! I remained mesmerized for the next few hours. Not just by the movements and expressions but by the subtleties. Our model’s team had a different attitude towards him once he was in costume, they were short of worshipping him and we all felt it. It was like being in the presence of God, or at least the closest thing to it. After a few frames we noticed that his eyes were very blood shot, so we asked if the atmosphere was bothering him. He gently informed us that he needed to portray the angst, the power, the menace and the megalomania of his character, thus the red eyes. He had applied a powder derived from a 'brinjal' like vegetable (which I suspect is the chili family, don't the seeds look alike?) in his eyes and thats what made them burn red this way.

Before we knew it … the shoot was over. I felt awful, there was still so much to explore, so many questions to ask. All I could the end the day with was an apology to our model, I apologized for being just the ‘audience’ all these years. I apologized for not recognizing the immense talent and fervour that goes into being a performer of Indian classical arts. And finally I thanked him, thanked him for showing me the essence of ‘Kathakali’. Apart from the makeup, the costume, the élan and the rich history, it was the devotion, the discipline and the traditional grounding that I will never forget. So next time you go to see any Indian classical dance, remember to feel the history and appreciate the entirety of what you see.