Each style of dance has its own grammar and adhering to that framework, the artiste seeks to find her own path of creative expression. That individual expression is enhanced by the persona of the artiste, which in turn defines the aesthetic merit of the performance. Kshemavathy, renowned Mohiniyattom artiste from the Kalamandalam school took the viewers on an artistic journey, by not only highlighting the grace of the style but also by the repose and restraint in bhava to communicate the inherent ideas of each composition that she chose to perform at Chennai recently for a show presented by South Zone Cultural Centre and the Bharatiya Vidya Bhavan.
A Saveri Raga Devi Sthuthi on Saraswati, from Maharaja Swati Thirunal’s suite of Navaratri Keertanam, describing the form of the Goddess of Learning and seeking her blessings to dispel the darkness in our lives provided a meditative start to the evening’s recital and the two disciples of Kshemavathy — Rashmi Menon and Dr. Rathi Mohan — were full of grace and their well co-ordinated movements was appealing.
Devaki Vilaapam, a Varnam written by Trissur Mohan Kumar and composed in Raga Bageshri by Vayalar Rajendran, was a lament of Devaki. Vasudeva’s wife is in tears having watched seven of her children being killed by Kamsa and the eighth child leaving her soon after his birth. She questions if she is fated to be only in tears all the time. She seeks the grace of the divine lord to give his darshan to this mother in tears and bring happiness to her.
Kshemavathy was so absorbed in the mood of the song that the viewer was able to empathise with the pain of Devaki.
The depiction of childbirth, and the sancharis for the story of the prison doors opening, Krishna being carried in a basket, the flooded river and Adishesha, the serpent, becoming an umbrella to shield the child from the torrential rain was portrayed without dramatic exaggeration. The depiction therefore was an aesthetic expression, in complete harmony with the sthayi bhava of the song. The description of Krishna with his curly locks, peacock feather and flute at the end of the varnam was poetic.
Sensitive abhinaya
Presenting the popular Ragamalika Keertanam ‘Sree Chakra Raja,’ Rashmi Menon brought alive the concepts of creation, the cycle of life and death, devotion and surrender, through sensitive abhinaya and leisurely pace of her movements.
The Dasavataram slokam ‘Pralayapayodhijale’from Gita Govindam was a team effort by Kshemavathy and her disciples Rashmi Menon, Dr. Rathi Mohan, Kalamandalam Veni and Kalamandalam Veena. The ten avatars were depicted with interesting formations and groupings of the dancers but what was most appealing was the brevity in showing each avatar without meandering narratives.
Ajitha Hare, the story of Kuchela from Kuchelavruttham, a popular episode in Kathakali performances, highlights the feelings of Kuchela, who has been yearning for a meeting with Krishna. When he does meet his childhood friend, he talks of his greatness and reminds him of Gitopadesam.
The transformation of Kshemavathy, the dancer, from the frail looking Kuchela to the charismatic Krishna and her depiction of Viswaroopa lingered long after the show was over. A Dhanasri Thillana danced gracefully by Kalamandalam Veni and Veena was the finale to an evening of aesthetic expression.
Melodic vocal support was provided by Girish Menon, accompanied on the mridangam by Kalamandalam Shaiju, flute by Guinness Murali Narayan, veena by Muralikrishnan and Edakka by Ajith Kumar.
