Akbar's Bridge

A period film based on an incident in 1556 in Mughal Emperor Akbar's life wherein the young Mughal ruler once ordered the construction of a bridge instead of the earlier planned mosque at Jaunpur, thus proving his commitment to the people. Immortalised in a poem by Rudyard Kipling, it is a testimony to the Emperor's secular credentials.

"...Her abilities as an actress are on par with her virtuoso Kathak performance.. Shovana proves her mettle as an actress with a strong portrayal of emotions reminding one of similar intense scenes from films which starred Smita Patil and Shabana Azmi in the past..." The Statesman, May 11,1996.

" A sensitive portrayal...We are accustomed to seeing her prancing like a young gazelle to the rhythmic intricasles of Kathak, portraying bewitching nayikas in love. How did film maker Ashi Manohar rope her in to play an old woman living in abject poverty who ultimately awakened Akbar to the needs of the subject. But Shovana Narayan has virtually lived this unusual role..." May 1, 1990.

"Anuttar"

Anuttar - is about the lives we read about, mythological figures we emulate and worship - but what about the other side? In this journey Shovana tries to open doors to some hidden facts, to an unravelled truth.

"Anuttar" is based on episodes in the life of Lord Shiva, which the dancer has successfully related to modern life with its complex relations and thoughts. Love, a beautiful feeling of harmony can lead to possessiveness so much so that suspicion of betrayal arouses in man an irrational anger, leading to illogical & heinous actions. We Indians have been worshipping Goddesses like "Kali" over centuries. But who protects the "Devis" when they are objects of unsolicited attention ?

We revere to Lord Shiva as "Neelkanth" as well as "Nagendraharai" or "Ardhanareshwar". But how do we treat his lesser children & eunuchs ?

Shovana has drawn very apt parallels between mythology and modern life in a unique experiment, wherein both ages (the mythological and the modern) are depicted simultaneously on the stage. This successful treatment was the very first of its kind in Kathak.

"The Dawn After"

Presenting a fusion of three dance forms, "The Dawn After" was a ballet presented in cooperation with Ballet dancer Christian Rovny and Flamenco dancer Dario Arboleda. In this ballet Shovana Narayan raises issues related to humanity. The harmonious and peaceful world created by God, is being destroyed by man's ego.

The technique of Western Ballet, with light movements and flights, performed by Rovny depicted harmony and peace, while the flamenco dancer Dario Arbolelda with his fiery tapping and dancing represented the ego and evil, destructive elements. The akashganga or the cosmos, depicted by Shovana Narayan herself, represented the prakriti or the human begin, who is constantly under the sway of these conflicting emotions. This maiden cross- cultural experiment was widely appreciated by art-critics and people from different walks of life.

"Fusion with flair...novel "Spell binding show..." choreography.." (Amrita Bazar Patrika Calcutta..Now. 22,1994)

" A unique fusion of kathak, ballet and flamenco held the audience enthralled.." (The Economic Times, Calcutta, Nov. 19,1994)

"Dishantar"

Dishanter brought out predominantly the environmentalist in Shovana apart from bringing out her contemplation on the caste system.

Man's indiscriminate exploitation leads to ecological imbalance and therefore a lot of pain and unhappiness to people, who are dependent on the bounty of nature.

During a time when there was no talk of ecological imbalances and environmental conservation, Shovana performed this ballet with her troupe and gave proof of herself as an artist capable of looking into future problems.

"Dishanter directed and choreographed by her...excels in teamwork and co-ordination...slick production.." The Times of India. Delhi.

"Mera Safar"-Ali Sardar Jafri

With "Mera Safar", Shovana commenced her journey at a philosophical level, delving into the philosophy and metaphysical questions on life.

The choreography is based on the poem of Ali Sardar Jafri who despairs in the thought of old age and death, but returns to an optimistic tone, while asserting his return in the varied forms of nature.

Shovana has interpreted this poetry from a dancer's perspective who realises the onset of old age but sees in her disciples, the carriers of her art & effectively a medium, which could make her eternal.

On the other hand she made use of a metaphorical interpreting strategy so typical of Kathak and on the other hand, footwork to show new growth of life. She made a beautiful and intelligent use of the Chakkar to interpret the universal philosophy of the cycle of life, death and birth.

"And the audience shouted encore..." The Indian Express, New Delhi, April 8,1994.

"...spiritually elevating and artistically exhilarating..." The Evening, New Delhi, April 8 , 1994.

"... unique combination of poetry, painting and dance..." The Hindustan Times, April 9, 1994.

Mohan & Rambha

How was Mahatma Gandhi initiated into chanting Rama-Nama, and what were the reasons behind it ? Based on the Mahatma's own account of his initiation into chanting Rama Nama by a maid servant Rambha, writer philosopher Prof. Ramchandra Gandhi has explored the meaning of this extraordinary testimony in his work Mohan & Rambha. Its a contemplation on inquiry and illumination, love and martyrdom, a homage to the shakti which sustains sages. She is infact the first dancer to work on the themes of contemporary sages and with Ramchandra Gandhi in this and other innovative works.

An extremely meditative choreography, Shovana has brought out with equal prowess the relation of faith and belief between the maid servant and young Mohandas. Through the questions asked him, she has touched upon many issues related to women, untouchability, and human discrimination, which were so close to the Mahatma's heart.

"Shovana Narayan in her treatment has surpassed all her earlier attempts. Here is a Shovana at her creative best. Dance passages in her undulated Kathak intensity, have been strung together in a montage doing full justice to the theme.." (Leela Venkataraman, The Hindu, Oct. 13, 1994.)

"Mohan and Rambha- a rare treat... Any project built on the collaborate efforts of the sensitive Ramchandra Gandhi and the versatile Shovana Narayan is bound to be a success.." (The Statesman, Oct. 13, 1994. )

"Moonlight Impressionism"

Music and love transcend all barriers. "Moonlight Impressionism" is one of those unique experiments of the dancer- choreographer, which sought to bring together western and Indian classical music through an exquisite love story, painted in the tradition of Kathak.

Shovana worked on this project with the skilled German pianist, Mr. Herman Sausen, who accompanied the dancer on stage with compositions of Ravel & Debussy. The Indian counterpart Pandit Jwala Prasad, composed an equally emotive music to suit the mood.

Here again the dancer does not make use of ghungroos (ankle bells). The ballet".. so bewitchingly depicted by Shovana and her pupils to the accompaniment of music (played on the Piano by Sausen and the Indian played music conducted by Prasad) that it left a who's who of the capital's art and culture world zapped..." (The Hindustan Times, April 11, 1993).

It was a unique experiment which "...blew a mild gentle breeze creating an atmosphere in which bloomed the dance ballet " Night Flower" with the most exquisite charm..." The Rashtrya Sahara, April 10, 1998.

"Muktilekha"

Man is born free. Each man is equal in dignity and right. And yet the social structures has forced some into bond labour and turned a few into the ruling class. Shovana raises her voice against such discriminatory society, which violates the rights of one human being for the gain of another in her ballet, "Muktilekha" based on the concepts provided by Dr. L.M.Singhvi.

For the first time, Shovana took the bold step of discarding the ghungroos (ankle bells). Only a change of chunnis or veils in different colours, and music brought out the contrast between the haves and the have - not as well as the continents and the gulf between the races. In this particular ballet, the choreographer has taken up a global issue of human rights and has handled it successfully. In fact, this production can be counted in one of those in her collection, which go in the direction of, "Gesamtkunstwerk" in the perspective of Richard Wagner.

"...With a touch of creativity - "Muktilekha" this highly innovative choreographic attempt is another feather in Shovana's cap..." The Times of India. Lucknow.

"Raah de Radhe"

"Raah de Radhe" is the story of an unborn soul, who like Abhimanyu, traverses the journey that it would be experiencing after birth, articulating thoughts besieging the minds of each one of us.

The dance ballet is based on the "vaks" or pearls that fell from the lips of women saints from different part of the country, each symbolising God as the beloved and as Radha the "atma" seeking union with the "paramatma" - the ultimate enlightenment.

It was for the first time that Shovana has, through the dance, drawn attention to the works of twelve women saint poets of India, who have remained by and large regional. The verses are taken from the works of Akka Mahadevi , Avaiyar, Dasimaya, Andal, Bahinabai, Muktabai, Sati Toral-Jesal, Gangasati, Sahjo Dasi, Meerabai and Lal Ded.

The works of our women bhakta poets testify to the joyous exploration of their own truth even when it involves radical departure from legislated life.

"Yashodhara"

Ever heard of a woman donating her son in charity to her husband, who has turned a Sanyasi ? What emotions does a woman experience, when she is discarded without provocation during the dead silence of the night by her husband, who wishes to search for the Truth ? And what pains does motherhood experience when the same husband returns after enlightenment, not to reaccept her but to ask for charity through donation ?

Shovana has taken up this heart rending saga of a woman from nowhere else but Indian history. Based on a poem by Maithili Sharan Gupt, she has depicted with utmost delicacy the story of Princess Yashodhara, wife of Prince Siddhartha who became Gautam Buddha, The Enlightened One.

On the one hand, she has very successfully shown the dilemmas Prince Siddhartha is caught in by making an excellent use of Gatbhav, while the anguish of Yashodhara, after realizing that her husband has left her without informing her, has been expressed by the poet's words "Sakhi ve mujhse kahke jaate...", equally matched by Shovana's emotive prowess.

It creates a feeling of empathy in the spectator for the woman and leaves him with tears of sorrow for the woman being separated from her most beloved son, the sole meaning of her life.