By Sethuraman Subramanian
The Cleveland Cultural Alliance's latest dance-drama production, "Ekaantha Seetha--a lonely furrow" is being staged this fall in several cities in the US after a premiere show in Chennai in September. It was staged in Durham, North Carolina on October 22^nd, 2006. The thematic ensemble consisting of three different episodes--one from mythology, one from history, and the third from the current times--is presented as a symbol of the rise of women, not so much a feminist phenomenon but as a representation of women's determination, capability, and efforts to advance themselves and society in general. The producers have succeeded significantly in the propagation of that message through the 3-hour program. The troupe consisted of 17 dancers both from India and the US. The three episodes enacted were intended to link mythology and modernity by a common theme—emancipation of women.

The first episode, from the epic Ramayana, describes the banishment of Sita to the hermitage of sage Valmiki in the forest by her husband Rama (carried out by Lakshmana), the subsequent birth of her twin sons (Lava and Kusa) and her resolute efforts to raise them well-accomplished in heroics and scholarship of Vedas. In accordance with the theme (and contrary to popular expectations), it was not the ordeal of Sita in the Asoka vanam of Ravana in Lanka that was portrayed.

 The second episode narrates the growing up of Rani Lakshmi Bai of Jhansi as a young princess learning martial arts and finally as a young (widow) queen taking arms and leading her army against the British to defend her kingdom and achieving martyrdom in the end.  The message here was: In death, “she gave birth” to the march of freedom from the British rule.  The third episode portrays a fictional contemporary young woman (Aparajitha) and her struggle to defy society from impounding her at home (“VITTukkuLLE peNNaip pUTTI vaippOmenRa vindhai manidhar thalai kavizhndhAr enRu… kummi aDi peNNE”— Subramanya Bharathi) and her efforts to help the lower rung members of the society advance themselves economically.

 The music and choreography were done by T. V. Gopalakrishnan and the Dhananjayans (V. P, and Shantha), respectively. Both the music and choreography were of excellent quality and the flow of the episode in each segment was smooth. There was story narration with miming action by two of the troupe members, interspersed with the dance and music, to enable the audience to follow the episode. The costumes were dazzling and the lighting was brilliant for each scene. Overall it was a delight to the eyes and ears to witness this program.

Some minor deficiencies: The third episode of the contemporary woman did not jibe with the other two although the intention of the producers was to link eternity from ancient to modern. The linkage failed after the second episode. The message got interrupted since unlike the two previous women, Sita and Lakshmi Bai, the contemporary fictional woman was despondent many times and she needed the help of a male teacher in the pursuit of her goals. Nothing wrong with having a mentor. It was not a solitary battle by her. Her efforts paled in comparison with those of the other two. One other puzzling question left unanswered (or just not obvious to the audience from the narration) is the question posed by Urmila (Lakshmana’s wife). The write-up says that question persists unanswered even today but it was never made clear as to what the question was.

 Also in the third episode they used Mahakavi Subramanya Bharathi's song, "kummi aDi peNNE.." in the instrumental mode. It failed to register the full spirit of the great poet's supreme message—liberation of women from the clutches of societal oppression. If they used the vocal mode for the song the verses would have conveyed the message more vibrantly.

Finally this reviewer takes exception to the subtitle: "a lonely furrow". The producers used the idiom "plough a lonely furrow" slightly out of context here. The idiom indicates a determination by an individual to pursue the goals against heavy odds. The term "a lonely furrow" does not make sense here since it means "an isolated trench".  “Furrow” is a trench created by the plow and thus “a lonely furrow” is an incongruent title for the program. When one word from an idiom is removed it loses its sense. “Solitary warrior” would have been a more appropriate title.

                                               Sethuraman Subramanian
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