To bring about a genuine fusion of the thematic and musical content of the two differing genres, the dancer and her musicians had obviously done their homework well. The verses of Sunayana ('She of the Beautiful Eyes' ), a dance composition by Sonal Mansingh which had been earlier presented in the pure Odissi mode, were interspersed with excerpts from film songs. For example, when the coy nayika whose beauty is being extolled disappears, and the poet is left hoping for her quick return, the situation is mirrored in the popular film hit, Jab deep jale aanaa, jab shaam dhale aanaa.

Similarly, the navarasas were depicted using the well known navarasa shloka in which Rama is described as experiencing each of the nine sentiments over the course of his life in the human world. Each sentiment had been ingeniously matched with an appropriate song from a movie. Entitled Indradhanush, this number was the high point of the show.

Rama is said to have experienced the karuna rasa, or sorrowful and compassionate state when he learnt of the plight of Ahalya and redeemed her. The film counterpart for this rasa was Vaqt ne kiya, kya hasin sitam. Shringara rasa occurs for Rama when he is with his beloved Sita, the model wife who stood by her husband uncomplainingly through thick and thin. This was juxtaposed with the romantic masterpiece of cinema music, Mera saaya.

The valourous rasa was depicted against the backdrop of Sita's swayamvara, where princes vied to lift the great bow that would win them Sita's hand, but Rama alone was strong enough to lift and even break it. The film counterpart for this was teri mehfil men kismat aajma kar ham bhi dekhenge, which also leant a touch of humour. Rama's wonder at the building of the pathway across the ocean was matched with Upar gagan vishaal, and similarly each of the rasas was covered.

In dancing to the film songs, the dancer took care not to deviate from classical movements and stylized abhinaya. Another noteworthy feature was that although the film songs themselves were created for the depiction of human characters and everyday emotions, Sonal raised them to the level of classical thought by making it clear through her language of gestures that it was the Nayika addressing the Nayakan, or vice versa. The dialogues were not between film stars but between Radha and Krishna, or Sita and Rama. In Mera saaya, one could imagine Sita, daughter of the Earth, treading softly through the beast infested forest behind her consort, Vishnu.

By adapting the situations in this way, choosing songs of high musical quality, and ensuring that her dance movements remained recognizably classical, even if they did not adhere to one genre alone, Sonal Mansingh succeeded in her attempt to display the adaptability of classical dance -- which is after all an extremely versatile language that can convey any message -- and also to make classical dance more accessible to a wider audience. Certainly, judging by audience reaction, she touched a popular chord.

The two types of music were intelligently bridged with the help of a keyboard synthesizer. Veteran vocalist Bankim Sethi and the instrumentalists of the Odissi orchestra are to be congratulated for their cooperative approach and adaptability, as are the participants of the film music orchestra, led by IP Singh.

Other participants in the show were Kathak dancer Ravi Chauhan, who performed occasionally with Sonal, and four of Sonal's students, who began the programme with Gaayiye Ganapati choreographed by their guru.

In the end, Indradhanush left everyone with a feeling of bonhomie, which is a very important motive of art. It also conveyed the message of harmony and national integration, subtly and aesthetically, and was a very appropriate Republic Day offering.

The Statesman, New Delhi