DIRECTOR’S NOTE

Since the year 1977,to 1979 Shriram Bharatiya Kala Kendra had been attempting experimental productions effected on the Mayurbhanj Chhau technique. Till 1979 we had staged three ballets — Jagadev (a folk-tale from Bihar), Konark (a myth surrounding the construction of the sun-temple of Konark) and Kaling Vijay ( a play written by Shri Chattur Bhuj on Ashok Maurya).

Khajuraho, was again,  another venture in the same vein based on the Mayurbhanj Chhau technique. Khajuraho, is an adaptation of a play by Shankar Shesh depicting the origin of the temples of Khajuraho and the reason for their expose on the art of making love. In this presentation we had attempted to capture and portray the sentiment with which the sculpting of these temple was undertaken.

       In Khajuraho, Guru K. C. Naik, has placed greater emphasis on the lasya aspect of the male and female movement, with glimpses of the Tandava facet, wherever the story-line requires it. In many instances, Abhinaya (facial expression), Mudras (hand gestures) and mime, have been woven into the dance sequences to enhance the mood, in the hope that the desired sentiment is depicted lucidly.

       The innovative musical score, composed and conducted by Shri Barun Gupta comprises an orchestra of numerous traditional percussion and stringed instruments played solo or in combination with the electric organ/synthesizer. The music of the Sitar, the Sarod, the flute, the chhau Dhol, the Tabla’s, the Tabla Tarang and the Dholak is synchronized with mood notes from the synthesizer, to offer life-like dimensions to the sound atmosphere.

       The costumes and ornaments have been designed in the mould of a Khajuraho statue — so to speak. Shrimati Shobha Deepak Singh has endeavoured to recreate the fashion of the time with Madhya Pradesh Chanderi Dhotis and Cholis and jewelry to set-off the embroidery on the fabrics.