The show began late, as the auditorium filled slowly. An estimated 700 people were in attendance; up from the pre-show forecast of 200-300. The organizers, Saheli, stood by patiently as the great room became ever louder with the murmured sound of shared anticipation. Apparently word had spread of the unique combination of artistic talents to be combined for the next two hours. Together for the evening, a dancer and a poet; a cherished Brookline performer and teacher of Indian origin and training, and a silver-haired Midwesterner revered among serious writers for his earthy wit and touching verse, and among the masses as the father of a minor revolt in the contemporary study of gender. The unpredictable outcome of such artistic alchemy was clearly of interest to many.

At last the house dimmed leaving three backing musicians in a white spotlight. A tabla, a flute, and a veena. Then, preceded by an appreciative and impressive introduction, the modest, stocking-footed Robert Bly padded across the stage to join the waiting musicians. Dropping himself in a stiff wooden chair, he asked that the house lights be raised so that he might see the faces of the audience. It was the first of many gestures during the evening that would leave a sense of warm inclusion for those facing the stage.

The first series of pieces were short and humorous translations of selected poems by Mirabai, Kabir, Rumi. On these, Mr. Bly was accompanied by the somewhat tentative tones of the musicians at his feet. Despite his cajoling, they seemed uneasily respectful of his speaking voice, playing softly and slowly. The arching gestures of his arms, swinging a beat, and hovering for dramatic emphasis, gradually formed a kind of self-accompaniment, a sitting dance that recast the ancient poems into a kind of jazzed-up offering of wisdom and poignancy. The audience listened, swayed, laughed and roared.

Next came the dancer. Stunningly wrapped in a golden sari, Nina Gulati seized the stage for a piece that recounted in its accompanying narration the words of an eleven-year-old girl. A poem “Silenced” by Anasuya Sengupta declaring her wish for freedom for many women in many countries who are silenced as a result of their cultural expectations. The sequences of movement were at times melodious, filling the stage, and at others abrupt, demanding, and quick; signaling the full arc of freedom, and freedom constrained. This piece was a touching opening gesture to the many women who have been and will emboldened by the outreach programs offered by Saheli.

As the evening progressed, the two performers shared the stage on several pieces, each one distinctly different. A brilliant virtuoso work of a contemporary composition in “Pallavi” form. “The dancer’s footwork converse with the singer in a rhythmic beat.” Then came “Moksha, a dance in which the dancers seek transcendence through the lyrical abstraction of movements and sculpturesque poses.” “Kalyani Nartana, the dance of Krishna on the head of the serpent Kaliya”, concluded the first half of the show.

After the intermission the poetry and dance collaboration came to its peak with a dramatic finale in “Kuchipudi style introducing rhythm and movement.” In the end they came together, the poet and the dancer, old friends. Robert Bly, slow and stiff, and Nina Gulati, silent. They bowed and hugged, graciously accepting the appreciation of the audience and flowers of their sponsors. As the applause softened they humbly left the stage in opposite directions. A magic meeting of muses was complete.

Daniel is an Architect practising Interior architecture with Dyer Brown Associates in Boston. He is also a free lance design writer and enjoys his free time writing, painting, and gardening.

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