ALCHEMY OF OPPOSITES (2007) (Collaboration) 
 
This production was choreographed by the Dhananjayans - a collaboration with Alapana, Singapore.  Founded in 1999 as Alapana Arts by Mr.V.Raghuraman and Mrs R.Banumathy, daughter & disciple of Sangita Kalanidhi Dr S.Ramanathan, the school has established itself as a premiere institution of Singapore  Lavanya premiered this thematic production for Kalaa Utsavam, held by the Esplanade, Singapore on 18th Nov 2007. 

Yin and Yang is an ubiquitous Chinese concept that has conceptual parallels in all spheres of the world. The two primal opposite but complementary equal forces-represent the unique balance of all things in the universe. All matter exists in harmony with the respective opposites. This concept is relative: it is never absolute. Nothing is purely Yin or completely Yang. Rather, they are interdependent. Consequently, a part of Yin is in Yang and part of Yang is in Yin. Each contains the seeds of its opposite. One cannot exist without the other. Day cannot exist without night. Light cannot exist without darkness.  Yin and Yang consume and support each other. They transform each other and into one another. 

This concept is found in both old and new Indian customs, legends and myths. Alchemy of Opposites explores the harmonious co-existence of elements that define life, balance, cycles in fluid constant motion. 

Through the idiom of Bharatanatyam, Alchemy of Opposites delves into the attraction between the opposites and its cyclical nature, and treads the path of paradoxes to explore the philosophical relationship between Surya & Chandra (sun and moon), Purusha & Prakriti (male and female) and Paalai & Solai (desert and fertile land). The choreography is set to find a common ground for dance articulation - to discover new dimensions, while retaining the geometrical linear structure and dynamism of Indian Classical Dance. 
  
The choreography  
The theme is a Pan-Asian one. Dhananjayan has carefully crafted a traditional choreography and clothed it in a contemporary outfit. Also, the choreographer has proved his mettle in utilizing contemporary movements and expressing them via the dancer’s body language. For instance, in the item ‘Paalaivanam’(desert), the music, lighting and movements when combined, left a lasting impression of an actual dry and parched land among the audience, with a mirage-like appearance behind the ramp.  

Music composition; raga selection 
Poems have been tuned by Smt Vanathy Raghuraman (also the vocalist for the production). It is her first venture for a full-fledged production. Her music showed traces of her illustrious father, late Dr S Ramanathan’s sound musical knowledge. Having chosen very apt ragas, she says she got help from the choreographer in setting the music for ‘Surya’ in Ragam Surya, ‘Chandra’ in Ragam Poornachandrika, ending with Neelambari, in vocalizing the combination of Kambodhi and Kedaragaulai, a joyous ’Solaivanam’ in Ragam Bhimplas and a dry ‘Paalaivanam’ in Ragam Vagadhiswari. 

Lyrics 
Appropriate tamizh works of Bharatiyar, Bharatidasan, Neelakanta Sivan, Sudhhananda Bharati,  Kamban and Perunkondungo, (with resource help from Prof S Raghuraman) were chosen. Excerpts from Aditya Hrudhayam were also presented. The admixture of Aryan and Dravidian Languages also spoke of Yin and Yang.  

Lighting  
This was one of the building blocks of the production, as it was absolutely vital to correctly depict the chosen theme. Each sequence had a different flavor and colour in accordance with the mood. Choreography and lighting were done by the same person (With the initial lighting plots conceptualized by Sri CP Satyajit, Sri Dhananjayan was later seated at the lighting board to control the panel settings!). As an arts venue of international repute, the Esplanade provided ample scope to experiment with professional lights, settings and the ever-ready and competent technical team, adding to the success of the presentation. The Esplanade personnel also insisted on a light/stage rehearsal, to ensure smooth running of the show, a rare occurrence these days, especially in Chennai, a citadel of the Arts.  

Orchestra 
Consisted of a mixture of both Indian and Singaporean Artistes, both of whom worked in perfect unison. Shanta Dhananjayan (Nattuvangam), Vanathy Raghuraman ( Vocal), Vedakrishnan (Mridangam), Vijayakumar (Violin- Singapore), Shridhar (Flute- Singapore), Jonathan Meur Pierre Daniel (Keyboard-Singapore). For instance, in ‘Purusha & Prakriti’, there was a combination of Kambodhi and Kedaragaulai, both offshoots of Harikambodhi., where the artistes had to sing them alternately in quick succession. Nevertheless, the artisted did it so smoothly that both ragas seemed to merge seamlessly, without distorting the respective grammars.  

Audio (controlled by Raju, Audio engineer, with over 20 years of experience). 
 

ALCHEMY OF OPPOSITES -  Photo Album