Lasyotsavam, a three-day dance festival in Thrissur, at Model Regional Theatre began with a Mohiniyattam recital by Kalamandalam Sheena Sunil. The first item was a cholkettu, her own composition, in praise of Lord Ganesha. She then moved on to ‘Kalavathy’, an adaptation from Sivapurana , which proved to be her tour de force. The dancer movingly portrayed the unalloyed devotion of Kalavathy, daughter of the King of Kashi, to Lord Siva, after she was advised by sage Durvasa to recite the Panchaksharimantra .
Odissi by Madhulita Mohapatra and her troupe followed. The Pallavi with which she commenced her performance along with her co-dancer was rich in graceful movements and rhythmic nuances, highlighting the lasya inherent to Odissi. Jayadeva’s Ashtapadi is best visualised in Odissi. Ramathe Yamuna Pulinavane , the anupallavi of the Ashtapadi Samudita madane , set to raag Pilu, well portrayed Radha’s sentiments when she realises that Krishna had been in the company of other Gopikas.
The next was a group presentation of Harismarane mado niranthara , a composition of Purandaradasa in praise of Lord Vishnu. The dancers impressively unfolded the stories of Prahlada and Panchali; the incarnation of Vishnu as Narasimha disembowelling Hiranyakasipu and Draupadi remaining clothed due to the blessings of Krishna despite attempts by Dushasana to disrobe her in the court of the Kauravas. After this piece with dramatic undertones, Madhuliya and her co-dancer returned to another Ashtapadi. Radhavadana vilokana vilasitha unveiled the much-awaited reunion between Radha and Krishna.
Shyamjith Kiran and Viraja Mandhre
On the second day, Shyamjith Kiran and Viraja Mandhre presented a Bharatanatyam recital. The highlight of their performance was an item extolling Lord Siva as the saviour of his fervent devotees. Episodes on the stories of Markandeya, Kannappa and Nandanar received an extensive treatment by the dancers. It reinforced the greatness of Lord Siva as guardian of his devotees. Paramajyothiswaroopa thus emerged as an immortal icon in the discourse of both the dancers.
The succeeding item was from Gitagovindam, Kisalayasayana thale kurukamini , in which Radha and Krishna come together after a protracted period of separation. The finale was an effervescently executed Thillana in raga Sivaranjini, Adi tala.
Parvati Dutta and her troupe
A Kathak recital by Parvati Dutta and her troupe followed the Odissi performance. She began her concert with two Dhrupads composed by Tansen. The first Dhrupad, set to raag Suha, was addressed to the Emperor of Delhi whose court was being readied for a Sangeet Sabha. The second one, set to raag Gurjari Thodi, was a tribute to Queen Mriganayani of Gwalior.
The second piece was Taal Vasant in nine matras exploring the beauty and grandeur of Vasant (spring).
Next was Badariya barase , a solo item by Parvati based on a bandish . She presented a young maiden’s reflections on the rain and her thrill while watching the silvery lightening in the sky. The last but one item was ‘Khelat Shyam’ taken from the traditional Kathak repertoire. The dancers presented the Gopikas’ devotion to and love of Lord Krishna accompanied by lyrics of Muslim poet Raaskhan, set to raag Kalavati and teen tal (16 beats).
Parvati and her group concluded the recital with a refreshing nritta piece delineating the texture and imagery linked to the river portrayed as a damsel. Raag Miyan Malhar and the fast tempo of the final segment contributed to the dancers’ agility.
On the final day, a group of young dancers, trained under Kalamandalam Sugandhi, performed a pure dance piece in praise of Lord Ganesha.
The adavus executed in mid-tempo and the movements akin to the gait of an elephant, accompanied by the maddalam and the edakka, distantly echoed the aesthetic perception of Kavalam Narayana Panicker who had insisted on an indigenous flavour in Mohiniyattam music.
students of Lasya Akademi of Mohiniyattam
Five disciples of Pallavi Krishnan, later, presented Panchabhoota , the five elements of nature, in the organic framework of Mohiniyattam. Verses from Sankaracharya’s Saundaryalahari and Taittariya Upanishad formed the lyrics of the item.
The concluding programme of the three-day festival was a Kuchipudi recital by T. Reddi Lakshmi. She started her concert with Swathi bhajan Aaj aaye Syam Mohan set to raga Sudhsarang and Adi tala. The Ashtapadi Pralayapayodhi , the next item, provided Lakshmi immense scope for satwikabhinaya as she detailed the Dasavathara of Lord Vishnu. She then presented Bhamakalapam, a composition of Sidhendra Yogi.
The dancer then moved on to a Javali, a composition of Chinnaya of the Tanjore Quartet. The final item, Sivatharangam, a Narayana Theertha composition, brought out the charisma and rhythmic command of the dancer. Lord Siva, the cosmic dancer, was presented in full verve and Lakshmi’s footwork on the brass plate was both technically precise and aesthetically engaging.
The event was organised by Thrissur-based Lasya Akademi of Mohiniyattam in association with the Ministry of Culture, Government of India.
