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Friday Review » Dance

Updated: January 22, 2010 17:25 IST

Aesthetic enactment

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Vyjayanthi Kashi.
Vyjayanthi Kashi.

Vyjayanthi Kashi's exhilarating Kuchipudi recital was the jewel in the Samskruti dance festival.

The second day of Satyararayan Raju's Samskruti dance festival commenced with a solo Bharat Natyam recital by Subhasini Vasant, a disciple of Guru Narmada. Set to Adi tala, the neat execution of a Vachaspati varnam by the dancer spoke about the Nayika's pining for her Lord. This was followed by a Bharatnatya recital by two upcoming dancers from Bangalore — Parshwanath Upadhye and Rukmini Vijay Kumar. However, the best performance of the evening was an exhilarating Kuchipudi recital by the country's leading Kuchipudi exponent, Vyjayanthi Kashi. A dancer of repute, Vyjayanthi sought to alleviate the various nuances of the dance form she has specialized over years of sadhana. This should be a lesson for every upcoming artiste as her dance have redefined boundaries.

Pravesha or Praveshika daravu is an attribute of Kuchipudi Bhagavata where either the character or a third person gives an introduction to the character. Vyjayanthi inaugurated her recital with a Ganesha Pravesha Daravu where the artist as a third person introduced the grace and the charms of the Lord Ganapati for remove all obstacles and for the smooth running of her recital. Composed by the Maharashtrian King Shahji, the item is taken from the “ Vishnu palaki seva prabandham” of a Kuchipudi repertoire and speaks of Vyajyanthi's mastery over the nuances of the dance form.

Set to Raag Hamsadhwani in Adi Tala, the item concluded with a “Konagallu” - an amalgamation of Jathis with a sloka “Jaya Ganesha” enthralling every aficionados to the core.

Moving onto Poojarini taken from Devi Mahatma unfolding into the story of creation of Goddess Saraswati, Lakshmi and Parvati, Vyjyanthi's Ekaharya Abhinaya to bring out the rage of Adi Shakti was enacted aesthetically through the high quality recorded music ensemble.

Pivoting around the concept of the microcosm mingling into macro was Vyjyanthi's presentation of Ardhanareshwara set to Raag Malika and tala malika.

Sculpturesque poses with awesome charis and an equal balance of the execution of the tandava portraying Lord Shiva and lasya through Parvati with overwhelming jathis “ta ta ta dhi” was highly captivating.

Supported with awesome lighting and antique stage décor, Vyjyanthi concluded the two-day dance festival with a Mangalam praising the five elements.



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