The concept of associating the Navarasas, the nine moods, with the theme of Lord Shiva and his consort Parvati, is rare and laudable as the celestial couple too had many situations that cover these moods - sringara, hasya, karuna, roudra, veera, bhayanaka, bheebhatsa, adbhuta and santa. Dandibotla Narayana Muthy has written this ballet incorporating all these rasas and titled it as Navarasa Natabhamini with more focus on the life of Parvati. He based his work on Vedavyasa's Devi Bhagavatam and Siva Puranam . This ballet staged at Ravindra Bharati, last week, was organised by Vamsee International.
Noted Kuchipudi danseuse Sobha Naidu transferred this script into dance form. Upcoming dancer, boyish looking Kaushik Babu played the role of Shiva play opposite her. Sobha restricted herself to some chosen scenes in playing pivotal role of Parvati. Her senior students Lavanya, Nitya Subhaprada and Sita shared other scenes to play the same role. The whole ballet was presented to pre-recorded music, impressively scored, with the vocal support of Krishnamohan, Amalapuram Kanna Rao and Nitya Santoshini with P.R.C Sarma on mridangam, Kolanka Saikumar on violin, Murali on flute and Guru Prasad on keyboard providing special effects. Nattuvangam was by Raghunandan. Vineela played the continuing role of Narada. Ajay played the roles of Parvati's father Daksha and demons Mahishasura and Gajasura. Shruta Kirti appeared as Rati in the Rati Manmadha scene.
The opening Jati for the title song Navarasa Nata Bhamini Narayani presented by four of Sobha's disciples set the mood for the ballet. This was an obeisance to the Goddess Devi creator of this whole universe. Daksha Prajapati Vedalenu that followed was more a pravesa daruvu symbolising the entry of King Daksha, father of Sati Devi that is Parvati, who performs a ‘Yagjnam'. Daksha shocks every one by ignoring Shiva arguing that Shiva is an ordinary beggar. The verbal fight between Sati and her father has a situation song Yemi Ee Viparitamu . Unable to convince her father she sacrifices her life couching the bhibhatsa mood. Sobha appeared as Sati in this drama.
Sati Devi, reborn as Parvati, becomes Lord Shiva's devotee from childhood. Karuna and santam are projected in this part. Indra sends Manmadha and Rati Devi to bring the celestial couple together. But Shiva, irate with Manmadha for disturbing his meditation, reduces him to ashes. Rati and others pray to Lord Shiva to bring Manmadha back to life, which he does later, displaying karuna.
Hasya (humour) found place in the marriage festivities after Parvati's marriage is fixed with Shiva. The rasa of bhayam is shown through the tale of Gajasura and Shiva. Adbhuta Rasam is the essence of Shiva and Parvathi competing in dance against each other, featuring Sobha Naidu and Kaushik.
The final piece is Mahishasura Vadha. Parvati displays veera rasa in preparing to launch her attack on Mahisha. She acquires the weapons of various Gods and slays Mahishasura in the battle, reflecting roudra rasa. Ajay played the roles of Daksha and the two demons impressively. Shrutakirti appeared as Rati Devi. B. Nagaiah's costume work suiting all the celestial roles was imaginative. Lighting and sets were compatible. Screen actor-turned politician Chiranjeevi was the Chief Guest at the function.
