Spanda, a group that presents works conceived and choreographed by Leela Samson, attempts to explore anew aspects of bharata natyam. Launched in September 1995, and later registered as a Trust, it has an evolving repertoire.

Spanda – a vibration or pulse – is symbolic of the enduring and perpetual energy that is the life force of the universe. It acknowledges prithvi, the earth, as the central source of energy in the universe, as the nabha, the womb is the energy centre of the human body. Bharata natyam is an art-dance that connects with the earth, taking life from it and returning energy to it. The focal point of the dancer is the abdomen. Its potential to enhance the core values of bharatanatyam is sought to be explored and expressed anew. The need to rediscover learnt vocabulary challenges and excites Spanda, as it does all dancers. While retaining the geometry, the variety and grammar of these ancient forms one can reduce movement to its truest expression. Speed and virtuosity take away from the beauty and grandeur of this dance style and its vital textual and musical tradition.
Spanda deliberates text, musical traditions and movement and exposes the dancer and the viewer to the stillness within them. While the soloist is not restricted in bharata natyam, group expression, outside the idea of dance dramas finds limited expression, even in our time. The dancer in a group is more acutely aware of the space she occupies and of that created by another.

Spanda seeks to establish a relevant dialogue between dance, music and stage craft. Young and experienced musicians have lent their creative skill to help discover the avenues that Spanda explores.

Leela Samson is an alumnus of Kalakshetra. Her seemingly understated delineation conceals a powerful and inspired inner source, which gradually unfolds before the viewer. She is a virtuoso performer and a sensitive interpreter of the nuances of bharata natyam. Two significant documentary films have been made on Leela Samson – ‘Sanchari’ by Arun Khopkar and ‘The Flowering Tree’ by Ein Lall.

Leela is the recipient of the Sanskriti Award in 1982, the Padmashri Award in 1990, the Nritya Choodamani Award in 1997 and the Sangeet Natak Akademi Award in 2000. She served as Director of the Kalakshetra Foundation from 2005 to 2012. She is Chairperson of the Central Sangeet Natak Akademi as well as the Central Board of Film Certification.

Presentation

ATISHAYA- An amazing feat
When Sri Krishna hears cries of distress from the village folk, he rushes to the river to see that the poisonous cobra-king, Kalinga is tormenting them. Sri Krishna jumps into the river, fights with the serpent, vanquishes him and dances on the hood of Kalinga. Moved by the pleas of Kalinga’s wives, he banishes him to the oceans warning of dire consequences if he returns to torment his people. The villagers rejoice at Sri Krishna’s feet and celebrate his victory over the serpent king with song and dance

Raga: Charukesi, Hamsanandi and Bimpalas
Tala: Eka
Author: Purandaradasa?
Composer: Rajkumar Bharati?
Choreography: Leela Samson

STHAYI SANCHAR – The descent of Ganga
Prelude
King Bhagirathi’s kingdom lies parched for several generations. He strides up to the heavens and at first, is lost in the beauty. Recalling the death of masses of his people, he approaches Brahma who directs him to Shiva. At last he approaches the Goddess herself, who admonishes him saying that if she descended the entire earth would be destroyed. Vishnu takes the form of Vamana, asks for three boons and with two spans places his feet on earth and in heaven. The skies open, thunder and lightning and rain follow and with all her arrogance, Ganga begins her descent. Seeing that she will submerge the land Shiva intervenes – opens his matted locks and captures her in his hair, while slowly subduing her ego. They are entwined in the battle and fall in love.

O Ganga, adorning the head of Lord Shiva, protect me. You have a majestic form and are fond of both vocal and instrumental music.
You make the progenitor of Manmatha or Cupid – Lord Vishnu happy. You have a slender waist like the thin stream that flows between the Asi and Varuna rivers. You are worshipped by Sage Akrura and bestow happiness on all. You are the origin of all sacred waters. You sport with the virtuous Guruguha. You are the esteemed daughter of Jahnu and are benevolent towards the Sage Vyasa and others.’

Sancharis that are typical of Varanasi are used in the depiction – peela chadaana - when women drape the Goddess river with yellow saris; when others set lamps out on the river with good tidings for their distant beloveds; the sandhya vandanam and cremations on the banks that liberate the soul of the deceased and the celebrated Ganga aarti, when at sundown all the bells of the riverside temples ring at once and lamps arise in praise of the river.

Raga: Janjuti
Tala: Khanda Eka
Author-Composer: Muttuswami Dikshitar
Choreographer: Leela Samson

KALYANI – The raga explored
An exploration of the Raga Kalyani – a favorite of composers and rasikas and much loved in the Karnatak music tradition.

Raga : Kalyani
Tala: Adi
Composer: Traditional Tanjavur Quartette
Arrangement: O.S. Arun
Choreographer: Leela Samson

JAVALI - Abhinaya
A vipralabdha nayika – jealous of the other woman speaks to her sakhi thus,

“ She has used magical tricks to separate us, O friend.

While on a swing, both of us flirted in love play. She saw our graceful spectacle and was jealous.

While on our bed, my Lord undid my upper garment and fondled my breast. He excited me in so many ways. She was unable to bear our joy.

When alone with my beloved – ever joyful and pleasant, we bet on feasting on each other’s lips. This was unbearable for her to watch.

She has used magical practices to separate us, O friend.”

Raga: Todi
Tala: Aadi
Composer- Author: Ayvar
Choreography: Leela Samson

SWARANJALI – Realizing brahma asmi through swaras
Tillana is a compositional form emerging from the dance genre of south India. It is usually fast-paced and rhythmically energetic, and uses south Indian solfege syllables, drum and dance syllables.
In this tillana, the composer has combined both the svara (pitch) syllables and the rhythmic solfege. Each of the seven notes sa ri ga ma pa dha ni of the swara syllables comes from the first letters of their respective individual phrases, such as ni from nishada, ri from rishaba, ga from gandhara, and so on. Each svara has a deity, a rasa, an animal and a color that is associated with it. Here the composer has used all seven phrases in their entirety as part of the text of the tillana.

The rhyming and rhetorical use of the syllable ni that follows the syllabic words, epitomizes the ultimate philosophical and spiritual truth, namely the worship of Brahma, that is, beyond form, shape, religion, etc., and that which is within oneself (Brahma asmi) and not elsewhere.
In the charanam sahitya, the composer says,

‘I am the Brahman – who takes the form of pranava or Om, manifesting as the seven svaras used in sangita and four used in vedic chants - udAtta, anudAtta, svarita and prachaya – that is everlasting, incomparable, that bestows endless joy, is pure, that has no superior, and is devoid of desire - whose essence is found at the end of the vedas - in the Upanishads.’

Raga: Purvi
Tala: Rupaka (3 beat cycle)
Composer- Author: Tirugokaranam Subbarama Bhagavatar
Choreographer: Leela Samson

Dancers:
Aditi Jaitly Jadeja
Bilva Raman
Ashwini Vishwanathan
Satyapriya Iyer
Sai Santhosh Radhakrishnan
Christopher Gurusamy
Hari Krishnan
Arun K.V.
Leela Samson