Indian dance is among the most vibrant forms in the contemporary Guyanese theatre. Of all branches of the performing arts it is perhaps the most prolific, and in terms of training, proficiency and achievement it is among those that lead the way. Companies specialising or whose output is predominantly Indian dance account for four out of the six best dance companies active in the country today. This is largely because this area of dance is sustained in Guyana by a number of significant factors. These include a very large popular audience, a large audience which can appreciate the classical and the more sophisticated theatre, the Bollywood film with the widely popular filmi elements that it inspires, and the Hindu religion and its traditional festivals.
Other sustaining factors are the interest in these forms and the actual practice of research, as well as the fact that most of those six best companies are involved in this activity. Some of these companies have grown and established themselves over many years, rising to good levels of attainment. Of the four oldest existing established companies, two specialise in Indian dance.
One of these leading groups in terms of age, prominence and accomplishment is the Nadira and Indrani Shah Dance Troupe. They are the producers of one of the four major annual dance ‘seasons,’ and one that has become a constant tradition in Guyanese theatre. Nrityageet is now 29 years old, surpassed in years only by the celebrated National Dance Company. It is an annual full dance production traditionally performed on or around May 5 to celebrate Indian Arrival in Guyana.
Over the years, however, Nrityageet has diversified its interests and a long time ago ceased its exclusive engagement with Indian dance. In addition to its study of classical and folk, the group’s choreographies include modern, Caribbean, popular, chutney, soca and various realms of experimentation. This was reflected in Nrityageet 29 performed at the Cultural Centre on May 3 and 4 last.
As is now the norm, the production was directed by Seeta Mohamed, who was also researcher and set designer. The artistic leadership and much of the choreography was again driven by Nadira Shah, the company’s Artistic Director. Nadira is half of the pair of sisters who gave the company their names. The other half is Indranie Shah, one of the choreographers and lead dancers. Costume and accessories were by Bhanmattie Shah. The production is usually elaborate, wholly performed by the Nadira and Indranie Troupe and supported by a virtual board of producers whose other members are Suzanne Shah Mohamed, Rajendra Shah and Raywattie Datt.
Nrityageet has earned a reputation for excellence in costuming, a habit they cultivated from years of meeting the demands of Indian dance theatre in which spectacle is one of the outstanding characteristics. That hallmark was there to a certain extent this year as close attention was paid to costume by Bhanmattie Shah in a number of dances. For example the one titled Mother Earth choreographed by Indranie Shah was one of the most spectacular for its full colour costumes and equally colourful backdrop. However, while the emphasis on those elements reaped great rewards the dance itself was fairly tame and carried by its visual characteristics.
Spectacle was also the highlight in a number of others, such as Suzanne’s Solo, Attitude, Irony of Love, Ghunguroos and Chutney Suite. Towards the end of the programme when a few Caribbean dances were featured and the production moved towards its finale with up-tempo rhythms, Chutney Suite, choreographed by the troupe was celebrated on a very bright set, enhanced by all the spectacular elements befitting that musical tradition with its driving pace.
Then there were those in which elements were combined with impressive results. The happy confluence of costume, set, backdrop and lights proved extremely effective in Attitude, choreographed by Suzanne Shah, a dance with a particularly spectacular opening. The same combination again worked for Suzanne in Suzanne’s Solo. Here the effect was sustained well beyond the opening as it was performed on what proved to be the best set of the show. The setting was further enhanced by excellent lighting to give it an overall memorable quality.
That quality included the execution of the dance itself lifted by the virtuosity of Suzanne Shah Mohamed, a dancer who literally grew up with Nrityageet, which was a part of her training ground and in which she has emerged as an outstanding dancer and one of the leading soloists in the company. Her technique and dramatic expression are good and she has now earned a place on the national grid.
The place that Shah Mohamed is carving out for herself is taking shape as well because of her performance as a choreographer. In this show her work was seen in the solo and in Attitude as well as in another work that she did not choreograph. But that dance is significant for other reasons.
On the programme Churia, originally choreographed by Nadira Shah, was directed/taught by Suzanne and performed by the National School of Dance. Shah Mohamed spent some time as a student at the National School (she was also formally trained elsewhere) and in this production she worked with them again in an advanced capacity. The School of Dance is also one of the six leading ‘companies’ in Guyana (having earned that place although they are a school, not a company) and here is an example of one group collaborating with another to good effect. It is also significant because Churia is one of the signal choreographies of Nrityageet and one of the most memorable items well worth preserving in the repertory of the Nadira and Indranie Shah Troupe. Moving steadily along the same path is another leading member of the troupe, Raywattie Datt. She is an extremely prolific choreographer, having been responsible for several of the dances in the show as well as those in which she collaborated with others.
These ranged from Rejoice in Our Heritage to Om Shantie (jointly with Omar Sattaur) which illustrated a creditable degree of versatility. As a dancer she also proved a noteworthy all-round performer with a thoroughness in the completeness of her work on stage. Her interest in kathak, well featured in this production, is moving to prominence.
Nrityageet 29 was also enriched by the work of those who have already moved along that same path to considerable heights. Nadira Shah, in particular, and Indranie Shah, were co-founders of the annual production and of the dance troupe growing up with them to be accomplished dancer-choreographers. They appeared in a number of pieces in this production including two solos choreographed and danced by Nadira, Seasons and Ghunguroos as well as Archana, choreographed and performed by Indranie.
Nrityageet is obviously continuing its tradition of grooming new dancers and exhibiting the work of some of those who have emerged out of its training and out of the many years that it has been on stage.
