Bhawana Somaaya

For many years now Hema Malini has been performing a Krishna ballet on the auspicious occasion of Janmashtami at Isckon temple, Juhu. Last year she performed Yashoda Krishna and this year she enthralled the audience with Radha Krishna choreographed by Bhushan Lakhandri and music composed by Ravindra Jain.

On this auspicious occasion she also released the third edition of my English translation of Krishna- The God who Lived as Man from Kaajal Oza Vaidya’s book in Gujarati published by Pustak Mahal.

In 2007 I did a biography on the actress titled Hema Malini-Authorised Biography published by Roli and released by Lal Krishna Advani in Delhi. I reproduce below excerpts of my biography on the actress discussing her journey of ballets on stage.
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In 1986 Hema Malini was introduced to a 20- year-old dancer portraying the role of Ram in a dance ballet she watched on television and it was a meeting that changed two destinies.

Their debut ballet The Bride Of Brindavan was the first of its kind in India. “Classical dance does not appeal to a universal audience, but ballets do, particularly to the rural audience. It’s because ballets involve three art forms: dance, drama and music. When these three forms are well synchronized the presentation is a success. When the combination is disproportionate, the audience gets restless. Performing artistes need to understand this. Only then can we fight for a rightful place for ballets in entertainment.”

The ballets ushered a new phase in her dancing career. Hema was often asked why she only chose mythological subjects. She said, “Mythologies offered her scope to incorporate different dance forms like Odissi and Mohiniattam. My face and demeanour is traditional and I like to perform an item that suits me, rather than blindly follow trends.”

Hema chose Meera because she liked the story of total surrender to God in the face of adversities. “The legend describes the circumstances that lead Meera’s husband to force her to consume a cup of poison and how she survives this injustice. “My love for Meera is an extension of my love for my guruma. She always emphasized on the virtue of surrender. Meera belonged to the sixteenth century but lived life on her terms. Her love for her Lord was selfless and flawless. We choreographed the ballet in Kathak because Meera heralds from North India and Bharatnatyam would not have been appropriate.”

In Radha Krishna the choreography attempts to bring to light a few notable events during Lord Krishna’s sojourn on earth, particularly, his youthful leela for which he is venerated. The stage presentation depicts the Lord’s mischief with the gopis of Brindavan, the special bond between Radha and Krishna and incidents depicting the Lord using his extraordinary powers to annihilate demon Arishtasur. “Radha Krishna are the eternal lovers. I have been performing various avatars of Krishna since my childhood. Krishna is an alluring God because he is a parakrami. For more than two decades it has been a tradition for me to perform on the Janmashtami day at the Iskcon fund raising concerts. Dancing on that day for me is a spiritual experience.”

Geet Govind is a poem of lyrical beauty composed by Jayadeva in the 12th century. It describes the many layers in the extraordinary relationship between Radha and Krishna.
From their physical attraction to the spiritual bonding the poem is a full circle when the Lord accepts Radha into his fold, more as a devotee than as a companion. “It is intriguing that only Radha is the recipient of Krishna’s affection even though all the gopis love him equally. The Madhurya Rasa, alias the mood of erotic love, is my favourite. I love the moonlit night and the humming bees when Radha and the other gopis come alive on stage.”

Her recent addition Yashoda Krishna is a tribute to universal motherhood. Yashoda was not Krishna’s biological mother but loved him to a point of obsession. Krishna was the life of Dwarka and the joy of all the gopis. He harassed them, robbed their clothes and when they complained to Yashoda, he pleaded non-guilty. The ballet elaborates on Krishna’s leela … his pranks and miracles. “Krishna reappears in all my ballets because he is alluring and leaves an impact in all the roles he plays – as a son, friend and lover. Yashoda Krishna is slightly different from my other ballets in the sense it is based on folklore and designed for a wider section of audience.”

Hema has held successful dance shows all over the world and traveled with a large group all around the world. Her chorus dancers who have worked with Hema for years say that she is never weighed down by her popularity. After so much power and success, there is still a child like quality to her and before the show she is all the time revising her steps.

Choreographer Bhushan Lakhandri who has been associated with Hema’s banner for over a decade and choreographed all her ballets from Nritya Mallika and Meera right to Draupadi says it has been an enriching association. He says it is not easy sustaining a creative relationship for such a long duration without conflicts. They have been able to do so because Hema does not impose herself as a producer. “She has been dancing for more than three decades but even now she is still as enthusiastic.”

Bhawana Somaaya
Available at stores-Krishna- the God who lived as Man Rs 350/-
Hema malini- Authorised biography Rs 450/-

Sitting beneath the peepal tree, Krishna closed his eyes but the images replayed in his mind. Dwarika Palace… Kurukshetra battle… Draupadi’s swayamvar mandap… Rukmini’s abduction… and glistening eyes of Satyabhama while leaving for Prabhas Kshetra.

The images conjured in sometimes flashbacks and sometimes in flash forwards. People… places… and memories!

The peepal tree above him spread its foliage providing a shade that resembled the Sheshnaag (serpent) with its multiple heads opened out. Krishna looked over the three rivers — Hiranya-Kapila and Saraswati flowing before him in three different directions. This was the holy Trivenisangam located close to Somnath Temple recognised as Prabhas Kshetra and revered for literature and fine arts.

Krishna recalled that it was only some time ago that he had renovated the Somnath Temple and enhanced it with gold and silver. It was only some time ago, that the Yadavas conducted elaborate prayers and offerings here….

Today, sitting beneath the peepal tree, with his eyes closed, Krishna tried to relive all those moments.

He was in deep agony and conscious of a shooting pain passing through his entire body like a current…. It felt as if a thousand poisonous snakes were biting into his skin….

Before him was Jara, hands folded, seated on the ground.

Krishna’s foot pierced with an arrow had formed a pool of blood on the ground.

It wasn’t easy for him in his present condition to walk from the forest of Prabhas, all the way to the river shore.

It was all the result of the curse of Mata Gandhari…

…The curse of Durvasa…

…They had not gone futile!

One by one, all his brothers, uncles, nephews, children, grandchildren, friends and well-wishers were to be sacrificed into the flames to be finally joined by him.

It’s true that Krishna had foreseen the future, but it’s also true that he was just a helpless spectator to the events that unfolded before his eyes.

Krishna wondered why he had endure the torture of watching the devastation of his own people… Was it necessary for him to witness the tragic scenario where the Yadavas degraded themselves…?

It’s true that Krishna did not actively participate on the battleground, but the violence and the bloodshed he witnessed continued to hound him even today. Was Arjuna right when he said that an empire created on the deathbed of loved ones was worthless…? Was that the reason the Pandavas could never sleep peacefully after the Kurukshetra battle…? Considering that they were the ones to initiate the battle for justice, had they in true sense conquered injustice…? Thoughts gushed into his mind and flooded him like the innumerable waves rising into the sea.

Krishna was hounded by questions and felt increasingly distraught.

He wondered if everyone felt the same way in their last moments. Innumerable memories… innumerable images… innumerable questions and innumerable expressions awakened a gamut of emotions in Krishna that didn’t allow him peace even for a moment.

He tried to distract himself but could not. He was restless. He would have preferred to meditate and enter into a samadhi where his aatma (soul) could be united with brahma (the ultimate truth), but that was not to be. Krishna found himself embroiled in a whirlpool of emotions….

Strange… a man who lived his entire life by his principles and infinite knowledge… how could the soul of a man as enlightened as him feel so restless…?

How could somebody as clairvoyant, revered as a deity feel so out of control…? Could this be because he had conquered his future but remained distressed with his past…?

Or was this an indicator that there was no way out where by even Krishna could save himself today?

And if this is what a deity incarnated as a human goes through, what about us poor mortals…?

The battle amongst the Yadavas had just ended.

So many dead bodies of brothers, kinsmen, children and grandchildren were all scattered over the dark, dense forest of Prabhas.

At a little distance away Krishna looked up at the skyline changing colours. The trio-rivers were getting ready to embrace the morning. There was a nip in the air and the peepal tree beneath which Krishna took refuge, dropped withered leaves that were strewn away in different directions, as if carrying tales of Krishna’s woes…. The first streak of sunrise piercing through the dark sky formed an orange blaze resembling a yajna flame. Though invisible by their presence, it felt as if the ambience echoed with a team of Brahmins chanting religious mantras…

Mamaivansho Jivloke Jivbhootah Sanatanah |
Manah Shashthanindriyani Prakrutisthani Karshte ||

Krishna had said that after his lifetime we shall find him existing in the five ingredients of Nature, and the sixth would be the hearts of people where he would always reside.

Seated beneath the dense tree he asked himself if his was a death haunted by life or a life haunted by death, or was truth somewhere between the two…? The divine force who narrated his philosophy of life on the battlefield was restless today… and in his turbulent moment Krishna was reminiscent of his debut meeting with Draupadi.

Krishna slowly turned over the pages of his past. He was unable to fathom why Draupadi said that to him.

It was the day she was to return from Dwarika to Hastinapur and she had broached the topic unexpectedly…

…Feeling choked but voice full of force, her large expressive eyes as yet unshed with tears… Krishna had sensed her vulnerability.

“Didn’t you say that…?” Draupadi repeated her query, “Didn’t you say sanshayatam vinashayti…? You were right, my friend, awareness leads to questions. I should know this, I have lived my entire life as a question mark and every question I encountered added to my woes and tortured my dear ones like piercing arrows…. My questions, my doubts have damaged my self-esteem, bruised my loved ones! Now at least relieve me of this anxiety…pain… and questions.”

More memories sprang up like waves in Krishna’s mind adding to his torment.

Krishna wondered why he should be reflecting on all these episodes now, at this juncture when it was time for farewell… Why did memories chase him like a mirage…?

Draupadi had come to him seeking freedom, but was Krishna free himself to grant her that privilege…?

So many questions still unanswered… so many people to be accountable to…! One by one they would all come seeking their rights…. All of them were to bind him and he had to seek salvation from all.

Or was it that it was only after liberating everyone that Krishna could find salvation, and knowing this he had begun the process…

Excerpted from Krishna- The God Who Lived as Man translated by Bhawana Somaaya from Kaajal Oza- Vaidya’s Krishnaayan in Gujarati.