"Puppetry, coupled with Bharat Natyam, seemed just the medium to convey the complexity of this piece." Gitanjali is talking about a 17-year obsession. The poetry of Mahadevi, a 12th century South Indian saint, on which, Walking Naked is based.

And how did the poetry become a play?

Since choreography has been her passion and profession, a dance drama based on Mahadevi's ideas was almost inevitable. "I first approached A K Ramanujan, in whose words I have read Mahadevi, because he has translated a body of Mahadevi's poetry. After he gave me the nod, I explored a number of possible means of expression, but none seemed potent enough. It took a concrete shape when I discussed it over with Phillip Zarrilli, an expert on Asian theatre and the ancient martial and meditation technique of Kerala, Kalarippayattu. Eventually we cameto the conclusion that puppets could work." And so they did.

The four puppets -- all designed by Phillip Zarrilli -- are on the stage to compliment the dance performance?

"The puppets aren't just complimentary. They are an integral part of the performance." For instance, the puppet made of ice melts in course of the performance -- serving as a metaphor for Mahadevi's own `melting' into a union with God, after she strips herself of all worldly attachments and `walks naked' for the rest of her life. "Three of the puppets embody three aspects of Mahadevi's spirit and the fourth is an embodiment of three men that the saint encounters during her spiritual sojourn -- Mahadevi's husband and two sages -- the men who confront Mahadevi about her nakedness." One puppet made of cloth and another of metal and paper -- burn to leave a luminous geometric pattern on the stage also metaphors for Mahadevi's spiritual enlightenment and her conviction that "oneness with God is nakedness".

Hasn't Walking Nakedrecently received critical acclaim in Singapore as being "entrancing and eccentric"? Does she think India will respond the same way?

"I'm looking forward to my two days of performance at the puppetry festival here. Performing in India is more satisfying than anywhere else. In Singapore and Toronto too, most of the audience consists of Indians, or at least people linked with India in some way. But here, I'm talking in the same cultural context. People are closer to their cultural roots and myths. I can connect more.

Not that she has never `connected' before.

Gitanjali went to Kalakshetra in Madras to learn Bharat Natyam after spending her childhood in Kerala. She moved to Delhi for a while, where she started out as a choreographer and performer, before moving to Singapore and then to Canada with her husband. "This is one of my most experimental projects." Gitanjali has choreographed many shows based on her own concepts and conducted Bharat Natyam workshops in Paris and other cities in Europeand America. She also has publications and lectures on Indian dance to her credit.

And what next for India?

A show when the time is right.

Sanjukta Sharma

`Walking Naked' by Gitanjali Kolanad. At the Experimental Theatre, NCPA. On Sept 22. Time: 6.30 pm.