Varied styles, myriad moods

The recitals turned out to be a visual delight as the dancers depicted stories from the epics

June 15, 2017 04:58 pm | Updated 05:07 pm IST

 Gopika Varma

Gopika Varma

Two dance performances each on consecutive Thursdays (May 18 and 25) were hosted at the NCPA Experimental Theatre.

‘Nitya Nirantara’ an ensemble by the disciples of Jyothi Mohan opened with Pushpanjali (Bahudari, Adi, Jyothi Mohan) auguring well for what was to come. Firm footed jatis, clear facial expressions and coordinated movements.

‘Gayiye Ganapati’ (Hamsadhwani, Adi, Tulsidas) was preceded by a sloka on Vinayaka. The story of Ganesha guarding his bathing mother; Siva cutting off his head in anger; Parvati’s sorrow and resurrection of Ganesha by fitting an elephant’s head onto his lifeless body, unfolded clearly.

The lyrical Devi Stuti composed by Jyothi Mohan in Hamsa Vinodini, Sunada Vinodini and Swara Sammodini was well communicated.

Two dancers were used for each episode on Saraswati, Lakshmi and Parvati. The juxtaposed mood swings in Swara Sammodini was interesting. Saraswati flanked by the swan, Lakshmi seated at the foot of Vishnu and Durga on a lion were visually appealling.

 Sathyanarayana Raju

Sathyanarayana Raju

 

‘Vande Sivam Sankaram’ was a devotional supplication preceding ‘Sankara Sriguru’ (Hamsanandi, Adi, Swati Tirunal). The thandavam stances of Siva were varied and the challenge was well-addressed by the young dancers.

Ragamalika in Kanta Chapu brought out the agony experienced by Kanakadasa, the untouchable. He pleads with Krishna, who saved Gajendra from the crocodile, Prahlada from his demonic father and Draupadi from humiliation, to give him darshan and Krishna fulfils his wish through the legendary ‘Kanakane Kindi.’

In this item, Nupur Pai convincingly conveyed the pangs of the devotee. Pranamya Rajeevan was also promising.

The solo Bharatanatyam (Margam) by Sathyanarayana Raju from Bengaluru was supported ably by Soundarya Srivatsa (nattuvangam), D.S. Srivatsa (vocals), Lingaraju (mridangam) and Kartik Sathvilli (flute).

The artiste began with the Varnam ‘Swami ninne’ (Ashtaragamalika, Rupakam, Thanjavur Quartet). It was an energetic performance. Holding poses at length; covering the stage with brisk jatis and spiraling back to the centre with precision were proof of his fitness and flexibility. The stillness of the ankle bells conveyed a quietude which filled the ambience of the NCPA theatre.

The Tulsidas bhajan, ‘Bhajamana Rama’ in Sindhu Bhairavi with tanam interlude was interesting. Both Bharatha, epitome of filial commitment, and virtuous Guha, washing Rama’s feet with devotion, or the kevat rowing the boat with sliding feet movements were well portrayed. Sathyanarayana concluded with a tillana by Nagavalli Nagraj in raga Sumanesa Ranjani set to Adi talam.

Enchanting recital

Gopika Varma’s Mohiniyattom performance could only be described as enchanting.

Opening with a formal invocation piece ‘Gam ganapathe’ she went on to present two episodes ‘Shapatham and Shapam,’ composed by Kavalam Narayana Panicker. The Kurukshetra battlefield and the episodes depicted included Bhima’s fulfilment of Draupadi’s vow — to smear her hair with the blood oozing from Duryodhana’s thigh. She wanted to avenge the insult and humiliation she faced at the durbar.

Draupadi recalls how as a young queen she had laughed at Duryodhana tripping in water and had antagonised him. Her vow was fulfiled but at what cost? Was it her victory or defeat? These were ably interpreted by Gopika, as was her depiction of a princess, reduced to a dasi serving five husbands with different physical and mental attributes.

The second segment, Gandhari’s Shapam (curse) was powerful and poignant. She questions Bhishma, who had political motive in arranging her marriage to blind Dhritarashtra. The transformation from a shy bride to a vengeful woman, punishing herself and the Kaurava clan by blindfolding herself was strikingly graphic. The vatsalya she feels for her child Duryodhan, holding him close to protect him from Bhishma who wants him killed, her plea to scheming Krishna, who did not spare even one son to do the last rites for the old parents — Gopika was a convincing Gandhari who turns a mother’s sorrow into ‘shapam.’

 Students of Sriranjani Kala Nilaya performing Nritya Nirantara by Jyothi Mohan at NCPA

Students of Sriranjani Kala Nilaya performing Nritya Nirantara by Jyothi Mohan at NCPA

 

Presented from the perspective of the protagonist, both episodes were intense.

Antaranga, a quest for inner self, by Lata Rajesh and disciples began with a pushpanjali. Alarippu interlaced with ‘Vilaiyada idhu nerama’ had Siddhi Pillai executing the body movements with Lata doing the padartha abhinaya.

The main piece showcased the emotional turmoil of Karna as a victim of circumstances. The phase where he learns the skills of a soldier was presented using martial art movements of Kalaripayattu, conceptualised by Siddhi.

The flashback of Karna being cursed by Parasurama that he will forget his training, which leads to his defeat and death, was a novel attempt. Props such as dupatta, turban and peacock feather were used for character identification.

Lata Rajesh presented ‘Mogaduchi,’ a Sarangapani padam eloquently exploring the emotions of the innocent nayika.

The concluding item was about Konark — the Sun temple, the huge Rath and its wheels, the Sun dial, the erotic sculptures and ecology images. Every aspect of the temple was brought out with varied quick movements.

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