A canoe set sail in the middle of the night The boy saw a jewel hanging from the sky When wind pushed the boat to the beat of waves The jewel slid down and rested at the edge The boy thus tempted, cast his net and hook Little did he know that the moon was a crook Beckoning him with a smile, The moon lit the sea As fast as he could, the boy sailed forth in his reverie “Come up here,” he heard the moon say But the horizon, forever held him at bay For a long time, moon kept up the play then it dipped into the sea …and quietly slipped away
‘No means No,’ the message has been conveyed sharply and clearly in the movie ‘Pink’. Thankfully this time it has caught the fancy of viewers. The theme of gender and consent has often remained ambiguous or has been construed differently by different people, though lately we see that the message is being sent out and reinforced through plays, street art, and movies.
The above picture is of a mural at a Railway station in Chennai on the theme of Gender and Consent. Here’s is a poem based on it.
She emerges from a jasmine sea the lovely, lissome Padmini and captivates the spunky Shivaji; — they are the golden pair of Tamil cinema of the yesteryear She is dressed in vines and petals He, in the dazzling warrior gear, Perceiving a petite maiden, he moves ahead to save the damsel in distress Into his strong arms, he must, must sweep her away… With a gentle gesture of hand, she shoves him and there she stays Looking at him in his eyes, she gives an assuring smile ‘I am my own hero,’ Ms Padmini says.
On a pitch dark night From far, a mechanic spots Speeding buses, disappearing lights. The raging river washes away Chunks of an old river bridge On the highway; He raises an alarm- Next day, the accident, lost lives become a part of the news print. A freak incident – Or may be an audit lapse; A failure to foretell the imminent collapse of a decrepit bridge in heavy rains! Individual valour saved many a lives where a part of the system took a nosedive!
A lull after storm in a turbulent sea redolent of a wily conspiracy – Stuck in a land of desolation within a cavernous space, holding their breath they wait for tempest to abate Choppy waters must come to rest – before the vessel takes off and sets the sails
Kathakali, the classical dance form of Kerala, originated in the 17th century, though the roots date back to 1500 years ago and lie in the ritual folk dances and dance dramas of Kerala.
Characterized by ornate makeup and fanciful costumes, the dance drama form blends dance, drama, mime and song to depict stories from Indian epics.
The body movements of Kathakali are influenced by Kalaripayattu, the early martial arts of Kerala.
In an excerpt from the novel ‘Arjun Without a Doubt‘ by Dr Sweety Shinde, Arjuna, of Mahabharata, draws parallel between dance and martial arts.
‘I would never regard dancers with disdain; I now know what efforts and grueling hours went into excelling in it. Archery and dance, both required an equal amount of dedication and dexterity; timing and tempo; elegance and concentration. Both required rhythm and restraint. War-dance had its rhythm too. ‘
The dance form makes extensive use of the facial gestures such as movement of the eyebrows, eye-balls and the lower eye-lids than any other dance style. Performers enact the story using hand gestures, facial expressions and eye movements that capture a whole range of emotions.are used to convey the story and translate words into the visual language of dance.