‘Sevens’ explores the sacred, and sometimes sinful, significance of the number seven
Sevens is more than just a Kathak and Bharatanatyam performance. It's a work of art born from experiences and intrigues, one that not only presents a visual panorama but also looks at what we believe in, with empathy, not prejudice. "Sevens explores the sacred, and sometimes sinful, significance of the number seven," as Nina Rajarani, who has choreographed and directed it.
Sevens by UK-based company Srishti is touring India and ahead of their show in Chennai today (December 21), and Bengaluru tomorrow (December 22), we caught up with Nina to know more about Sevens.
What is Sevens all about? And why is it called Sevens?
All three pieces are to do with number 7. Sevens explores the sacred, and sometimes sinful, significance of the number seven. From playful and energetic, to soulful and contemplative, the show will take audiences on an emotion-filled and entertaining journey.
Please take us through the process – from inception to the final output.
The middle piece of Sevens is called Saptapadi, which is about the seven vows taken in a Hindu wedding ceremony. I made this piece in 2016.The reason why I made this piece was when I looked into what these seven vows are, I was intrigued by the fact that they were so practical and evergreen promises that two people make when they enter into a relationship. They are vows that are relevant even today and will be so in future too. These are practical vows and don't have anything to do with God or religion. When I made this piece which was just 20 minutes long, I realised that to feature this work, it needs to be at least an hour long. So in 2019-20, I decided to develop a full length production on Saptapadi which I could tour with. When I started this, I came across the Seven Sins and learned how thought provoking they were. I wanted to look at these with empathy and without judgements.
The first piece of the production is called Seven Snags which is playful, flirtatious and youthful. I worked with a dramaturg which helped me get a an idea about how to structure the production.
How do the key themes explored in Sevens connect with both the traditional artforms of Bharatanatyam and Kathak?
I have used Kathak and Bharatanatyam as means of communication and tried to bring the two forms together seamlessly without losing the authenticity of the two forms. This is quite visible in the choreography.
Please introduce us to the team and tell us a bit about yourself.
The concept, choreography and direction is done by me; music is composed by Y Yadavan and Shammi Pithia; dramaturgy is by Lou Cope; costume design by Sandhya Raman; original lighting design by Chris Cuthbert; technical management and lighting by B Charles; and the sound engineer is Shanthosh.
I have been working with musicians for the last 20 years who integrate into the choreography. I consider this as my pioneering work and my USP. Many people have been inspired by this and are working similarly. I feel it enhances the collaboration between dance and music and puts the dancers and musicians on an equal footing.
As a UK-based dance company promoting and practicing Indian dance forms, could you share insights/experiences on how Indian dance forms are received outside?
Indian dance is prevalent all over the world and practiced at a very high standard. Gone are the days when people could think that dancers abroad are of an inferior standard. There is high quality training and thought provoking work that is being practiced abroad. People abroad are sometimes more committed to the art form.
