The India International Centre (IIC) in association with Usha RK and Tamarind Tree presented a two-day dance festival Jugalbandi of two Indian classical dance styles, Bharatanatyam and Kuchipudi, at the IIC auditorium recently. The participating young dancers Sathyanarayana Raju – Bharatanatyam from Bangaluru and Ajay Sharma – Kuchipudi from Vijayawada on the first evening and Aparajita Lahiri – Bharatanatyam from Chennai and T. Reddi Lakshmi – Kuchipudi from Hyderabad on the second evening presented ‘Samvaad’ or conversations from Indian mythology. Satyanarayana Raju, a brilliant disciple of Guru Narmada, had earlier performed ‘Ram-Katha’ at the IIC but Ajay Kumar, groomed in Kuchipudi ‘Stree-Vesham’ under the legendary Vedantam Satyanarayana Sarma and Guru Kalakrishna; came as a pleasant surprise for the dance-lovers of the Capital who were spellbound by their dramatic dance dialogue in ‘Bhamakalapam’ on the inaugural evening. Sathyanarayana Raju played the part of Krishna and Ajay portrayed varied moods of Satyabhama, the consort of Krishna, pining for her beloved.
Pushpanjali as a duet by both the dancers was followed by their Pravesa Daruvu introducing themselves. Ajay looked the epitome of feminine grace when he entered as the glamorous Satyabhama in “Bhamane Satyabhamane….” introducing herself as the daughter of the mighty king Satrajit and the most beautiful, intelligent and graceful wife of Lord Sri Krishna. The Pravesa Daruvu of Satyanarayana Raju as Sri Krishna “Rajeevaksha Raja Gopala” in raga Reethigowla set to Tala-malika described how he lifted the mountain Govardhana to save the Gokulvasis and the Cheerharan episodes as Sanchari Bhavas.
Pining for her beloved, Satyabhama as a Virahotkanthita Nayika (a heroine suffering the pangs of separation) writes a letter to Krishna describing her plight and agony and asks Madhavi to deliver it. The Samvada Daruvu between the two was the love quarrel, where Satyabhama accused Krishna of ignoring her and spending time with his other wives. Krishna tries to pacify Satyabhama in this enjoyable dialogue.
In the end Satyabhama realises that she is the Jeevatma pining for her Lord who is none other than the Paramatma, confirming the Vedanta philosophy that the ultimate aim for the mortal soul is uniting with the immortal. The dance-drama concludes with a dynamic duet, on a joyous Tillana in Brindavani Sarang composed by Dr. Balamuralikrishna.
The mesmerising live music ensemble comprised Nattuvangam Srinivas for Kuchipudi and Shakuntala for Bharatanatyam, vocal Srivathsa for Bharatanatyam and Sudharani for Kuchipudi, Mridangam by G Gurumurthy and flute by Rajat Prasanna.
The second evening of Jugalbandi was between Parvati and Lakshmi arguing whose husband is greater. Parvati played by Arupa Lahiry in Bharatanatyam and Lakshmi by T. Reddi Lakshmi in Kuchipudi; disciples of Guru Chitra Visweswaran and Guru Jayarama, Vanashree Rao respectively; open with Pushpanjali as a duet followed by Kautuvam composed in praise of the two goddesses in Khanda Nadai by Arupa and Vasudevan Iyengar where the lyrics serve as Patra-Pravesham of both Parvati and Lakshmi.
Arupa’s solo Bharatanatyam depicted Parvati as the unmarried young daughter of Himalaya who dreams of Shiva, falls in love with Him and describes her dream to her Sakhi in ‘Theruvil Varano…’. Lakshmi performed a Thyagaraja’s Kriti describing the marriage of Ram and Seeta. Music was composed by Satish Venkatesh and the dance choreography by Guru Jayarama Rao.
The Devaranama composed by Purandaradasa as Ninda-Stuti saw both Lakshmi and Parvati making fun of each other’s husbands and when the argument reaches the climax they realise that Hari and Hara are the same and equally revered.
The evening concludes with a vibrant duet by both the brilliant dancers on a Tillana in Revati raga composed by Maharajapuram Santhanam. The well-conceived Jugalbandi Festival also underlined the commonality and difference between both the dance styles.
The audience got acquainted with the basic stances, Adavus, Jathis, Swaras and Abhinaya of each style and could differentiate the AraiMandi, straight lines in Nritta and the subtle Abhinaya of Bharatanatyam in contrast to the lyrical movements, languorous stretches, bends and vivacity of Kuchipudi with its dramatic Abhinay derived from the Bhagavata Mela tradition.
