Scenic Animations for Manohar Performing Arts of Canada's "Sunset Moonrise"
India and alcohol inks, watercolour wash on rag paper; Sharpie on acetate,
acrylic on Masonite; digital composition and animation, sound-effects
16" x 9" at 120 ppi • 2016
Narration: Shyamala Dakshinamurti
Musical Direction: Sudhir Narayan, B.V. Balasai
Sunset Moonrise was a dance-theatre production that intercut stories of love, betrayal, triumph, and treason from contrasting episodes in Indian history, and featured two of the most popular classical dance styles of India—Kathak from the north, and Bharatanatyam from the south. It was staged in 2016 and again in 2017. These animated drawings were projected across the full width and height of the cyclorama as scene-setting introductions to each live sequence.
This is a trailer I produced for the 2017 show based on video from 2016 by Jarrod Tully:
SUNSET MOONRISE
Two dancers appear in silhouette upon the royal courts where they once lived. Yamini recalls the kingdom of Vijayanagar, and her memories of Rajkumar's love. Zohra tells of the kingdom of Awadh, and her memories of Dilawar. She recalls a poem she wrote about her life there; Yamini answers with a poem of her life in Vijayanagar.
It is nightfall in Awadh. Girls play at the forest's edge in the dying light. Suddenly, kidnappers encircle them and cut off their escape. Little Zohra is captured and sold to Khanum, mistress of the local kotha. Khanum opens her doors, and Zhora sees the dancing courtesans for the first time.
Timma's new poem describes the splendour of Vijayanagar at sunrise. Krishnadeva Raya enters; the court dancers celebrate their king as the embodiment of the sun and bringer of daylight. He praises Mohana for her supremacy in dance. Young Yamini watches the dancers, then secretly follows Timma to a garden where he works on his new poem. She asks him to show her the art of poetry. Timma begins to teach her, and is astonished at her perceptiveness.
In Vijayanagar, Timma teaches little Yamini Bharatanatyam; in Awadh, Khanum teaches young Zohra to dance Kathak. Both girls grow up to become celebrated dancers.
Khanum and her assistants prepare the kotha for an evening's entertainment as Dilawar and Banne enter. Dilawar lays arrogant claim to Zohra's attention while Banne sighs after Almara. The courtesans dance for them, singing of the secrecy of love. Banne swears his eyes are for one woman alone. Dilawar ardently compliments Zohra and asks Khanum for private time with her. He professes his love, but becomes jealous and controlling.
With great festivity Rajkumar is installed as Crown Prince of Vijayanagar; he seeks to be a great warrior king like his father, Krishnadeva. The king asks Timma to instruct the prince in military strategy. Rajkumar becomes impatient of Timma's advice and scorns him, dancing instead with the enthusiastic soldiers. Timma upbraids Rajkumar for his war-loving ways. As things become heated, Yamini intervenes and pacifies both men. The court dancers praise Rajkumar as the glittering embodiment of Lord Vishnu; it is clear Yamini has caught his eye. Mohana is bitterly resentful.
In both courts, across the gulf of centuries, there is celebration. Several relationships are contrasted: while Yamini and Rajkumar's romance blossoms, Zohra spurns Dilawar; Alamara laughs at giddy Banne. The relationship between Timma and Rajkumar is increasingly fraught. Krishnadeva Raya enjoys the respect of his court and friendship with Timma, but Wajid Ali Shah—regent of Awadh—is blind to the treason plotted by Dilawar and Banne.
Rajkumar and Yamini share a romantic duet surrounded by flowers. Rajkumar draws Yamini into the throne room and seats himself on the throne despite her protests. Timma is furious at the prince for overstepping his bounds. Yamini agrees with Timma, and Rajkumar feels betrayed by her. He insinuates that Timma is a traitor. The old general is aggrieved. As both men storm out, the other court dancers enter and mock Yamini for having lost her prince.
The courtesans perform at Wajid Ali Shah's darbar. The art-loving monarch recites a happy poem. Dilawar, brooding over Zohra's rejection, complains that prideful women are unbearable; Zohra counters by revealing how much he has hurt her. Dilawar reveals to Banne a secret letter from the advancing British forces offering a reward for aid in overthrowing Awadh. Wajid Ali Shah is oblivious to their treachery, but Zohra overhears their plans. She sets up a poetry competition—courtesans versus noblemen—with the aim of getting Dilawar drunk and stealing the British plans. The tipsy men lose the competition and hand over money; the incriminating letter is left hanging from Dilawar's jacket as he and Banne get drunk and fall over unconscious. Zohra accuses Dilawar of caring nothing for her or their life and triumphantly snatches the British letter away.
Stricken at having caused a rift between Yamini and Rajkumar, Timma arranges an entertainment at his house. Rajkumar reluctantly attends, but makes peace with Timma quickly. The whole court dances joyfully. As the dancers move among the courtiers, offering wine and exchanging goblets, Mohana attempts to seduce Rajkumar. He rebuffs Mohana and seeks out Yamini. Pledging his troth, Rajkumar offers to marry her. Timma blesses their union. Enraged, Mohana and her accomplices scheme to poison Yamini's wine. Rajkumar unwarily drinks from Yamini's goblet, then staggers and dies in agony. At that moment, Krishnadeva Raya enters Timma's house.
Gunfire and trumpets signal the arrival of the conquering British. Dilawar and Banne wake from a drunken stupor and realize both their plans and money are gone. Khanum orders them to leave the kotha. As the courtesans frantically prepare to leave Awadh, Wajid Ali Shah sadly sings of the loss of his home and kingdom.
As night falls, Timma is seized and flung before Krishnadeva Raya. Despite pleading his innocence, Timma is accused—and convicted—of murdering Rajkumar. Timma is blinded upon order of the king. Yamini denounces Krishnadeva Raya and predicts the downfall of Vijayanagar. As the court collapses in chaos, Yamini and Timma are cast into a dungeon.
As the night fades into day, Zohra, Alamara, and a repentant Banne escape into the countryside. Awadh no longer exists as a nation, but its poetry and music will not be forgotten—as long as there are people who remember.
Yamini and Zohra are surrounded by their memories. Zohra speaks of happiness, while Yamini laments the sadness of fate. They both realize that sorrow and gladness are inextricably linked, and that the memory of things past points the way to a brighter future.
—adapted from the program synopsis by S. & S. Dakshinamurti, Shalaka Godse
Images from the 2017 Production
top: Tripat Pachu as Khanum • Mayura Manivasan as young Yamini with writer/producer/choreographer Shyamala Dakshinamurti as Timma Rao • writer/producer/choreographer Sowmya Dakshinamurti as Dilawar Khan, Negysa Sadr as Banne Khan; Monica Arora, Mrittika Deb & Varsha Subramanian as the courtesans
middle: Shyamala with Jayadev Raju as Rajkumar • Sowmya and Negysa • Shyamala and Jayadev with Abirami Karthigesu as Yamini Devi
bottom: Ashriya Panesar as Wajid Ali Shah • Shyamala with Nalini Reddy as Krishnadeva Raya • Abirami and Shyamala • chief choreographer and creative director Usha Sharma
videography: Jarrod Tully & Storm the Castle Media • frame capture / editing: J. Stych
Promotional Materials I created for the 2016 & 17 Productions
I always look for thematic connections to build on from one production to the next—especially with Manohar, whose productions are so rich in thematic elements already. I was able to develop some by drawing upon the mostly-unused scenic art I generated for Manohar's 2008 dance-film production Jewels, on the screen half of which I served as co-producer, art director, production artist, storyboard artist, set designer/fabricator, music editor, and special effects & makeup person.
from top left: the stage moon I created from Masonite and acrylic paint, diameter approximately 20"; Palak Dhiman and Celina Brown from the "Pearl" sequence which featured it. Production still from King Kong (R.K.O. Pictures, 1933) showing the meticulously detailed Skull Island jungle set upon which the digitally-constructed "Emerald" environment was patterned; my concept art incorporating all six layers of the ink-on-paper illustration; a still from the sequence featuring dancer Aarti Pole showing the vines-of-ivy makeup I created for it.
