Writing about La Bayadère. It’s not only what I’m about to do but also the essence of Shobana Jeyasingh’s new work, an enterprising commission by The Royal Ballet Studio Programme.
Two centuries separate Jeyasingh’s focus on this literary activity: beginning with her fictional account of Jas Gupta, a young British Indian of today, blogging his thoughts after seeing a performance of La Bayadère, that epitome of 19th century balletic classicism; and then there is the actual writing of French critic, Théophile Gautier, documenting his experience of the first group of bayadères to tour Europe, during their Parisian performances of 1838. Gautier was so obsessed by these temple dancers with their teeth and gums dyed blue, and ears studded with holes, that he was still writing about them 20 years’ after they had gone. One, in particular – named Amany – was believed by Gautier (perhaps mistakenly) to have committed suicide during the ensemble’s time in London and may have become the inspiration for Nikiya, the tragic heroine of La Bayadère.
Jeyasingh’s target appears to be the cultural hotchpotch represented by an ancient Indian subject seen through a French lens in a product that is quintessentially Russian. Speaking through Gupta’s words, she makes the point that “bayadère” is merely a French word that has – through the ballet – come to signify the Hindu temple dancer (more accurately described, in the indigenous language, as a devadasi); and she pinpoints the precise location of events as being in Golconda, near Hyderabad.
This assertion of cultural ownership for the narrative of La Bayadère flows through Jeyasingh’s choreography, a mix of contemporary and classical Bharatanatyam with the merest hint of a balletic sub-text. But, these claims are staked with good humour. The opening sequence has Gupta briefly describing the characters and quickly sketching the ballet’s narrative, thereby providing an amusing riff on a well-loved story, linking ballet to Bollywood with Gupta declaring that the only authentic evocation of India is to be found in the long and opulent wedding ceremony!
This opening was inventively designed by Adam Wiltshire, Fabiana Piccioli and Ravi Deepres with Gupta’s blog-post appearing on a large video screen, fading to reveal the characters he describes dancing behind it. These tiny capsules of characterisation were deliciously portrayed, especially by Sunbee Han as Nikiya and in the withering, pointed finger of Avatâra Ayuso as “the scheming princess”, Gamzatti. I was left wondering why no reference is made to the High Brahmin, such a pivotal character in the plot’s denouement.