Two classical dance forms were hosted at the INT Aditya Birla Centre by Sangita Kala Kendra in association with Kala Sadan, institutions of performing arts, Mumbai.
The evening opened with traditional Krishna Stuti in Manipuri genre by Anusua Roy, disciple of Darshana Jhaveri and Latasana Devi. The Sanskrit sloka composed in Nibaddha (with tala) and Anibaddha (without tala), in Tandava style, was an invocation to the destroyer of demonic forces and deity of the three worlds.
‘Nani Churi’ that came next was about stealing butter by Krishna who, unable to reach the pot tied high piles up stone slabs, and adds a stool to climb up. The visually-effective presentation covered the efforts of Krishna, his sharing the booty with friends, his fear on hearing his mother’s footsteps juxtaposed to the joy of eating butter and the sly scurrying away towards the end.
Gaudiya Vaishnavism of Manipur sublimates Shringara rasa as the prime, while subordinating the other eight. In ‘Khandita’, demonstrating one of the ashtanayikas, Radha rebukes Krishna for philandering, tell-tale marks on him angers her and she drives him away. The tempo of Geeta Govindam Sanskrit verse, ‘Yahi Madhava’ penned by Kavi Jayadeva suited the slow pace and meandering movements of Manipuri. The expressions were suggestive, subdued with underlying pathos characteristic of an Uttama Nayika.
The concluding Prabandha had elements of Teneka, tala of 12 beats and 4 stresses, in format akin to Tarana of the North and Tillana of the South.
Anusua Roy dancing with cymbals
‘Mandila Nartan’ showcased Jhulan Yatra in August. The dancer kept perfect rhythm with her feet and wielding cymbals, danced away in joy. All the pieces were composed and set to music by Guru Bipin Singh and choreographed by Darshana Jhaveri and Latasana Devi.
The quick change of costume in a short duration programme, using the brief, formal felicitation pause is worthy of a mention.
In her short speech, Darshanaji pointed out that the younger generation is carrying on the gharanas. She praised the comprehensiveness of this venture that offered scope to different art forms.
The second segment was slotted for Kathak by Sarita Kalele, disciple of Guru Uma Dogra.
Shiv Panchakshara stotram, was apt considering the proximity and vicinity of Babulnath Shiva temple. Graceful hand gestures combined with suitable steps added to the power packed presentation of this popular piece.
Teen taal came next with all the technicalities in place. . The vocabulary of the artiste was well communicated and received an impromptu approbation of the audience. “When I get claps on sam, I am elated and feel I am on the right track,” said Sarita in a breathless thanks at the end of each piece.
It was clear she was missing her guru’s encouraging presence and expressed her gratitude and reverence at every step.
An impassioned thumri on Hari, ‘Na maro Shyam pichkari’ featured Radha and Krishna indulging in the celebration of the festival of colours. Sarita displayed both male and female stances convincingly and connected well with the viewers with her ease of expression. Her firm footed movements had the audience clapping in appreciative rhythm, adding to the cheerful ambience.
Dr. Padma Ramakrishnan felicitated the artistes and commended the good work of Gurus Natraj Gopal and Sharada Ganesan. Dancer Nandini Ganesan anchored the event.
