Raisa Luther’s show at the open air stage set against the towering Jagannadh temple in Banjara Hills bore all the traits of a Bharatanatyam artiste trained by guru Hemamalini Arni Currently an addiction therapist in in Hyderabad, impressed with her body language and mudras for apt depiction of the themes she presented. Her facial expressions were lucid and apt. Her footwork stuck to the grammar maintaining body balance. Proficiency in movement and mime were adequate and she would rate very high on the performance scale.
Striking postures, precise movements and dignified bearing are Raisa’s impressive attributes besides her simple but elegant costume. Remarkable self-confidence completes cumulative picture of expertise; humility taking centre stage. Buoyed by Sangeethakala’s vocalism with perfect pronunciation, commanding nattuvangam by Renuka Prasad, Sridharachari’s impressive mridangam, Saikumar’s violin and Venkatesh’s flute support, in this pre-recorded music, she just concentrated on herself just to time with the CD.
Raisa opened her performance with a sloka Gajananam, striking postures of the Ganesha with utter devotion.
Then Raisa went for a Padam Pag Ghungroo Re in Hindustani raag Peelu that depicted Meera lost in thoughts of Lord Krishna’s.
Raisa then went to present Krishna Nee Begane Baaro in Yaman Kalyani, Mishra Chaapu talam, of Vyasaraya Teertha. This was also treated with expertise in abhinaya displaying how Yasoda and child Krishna were at play, with Raisa displaying admirable control over the performance space. The way Yashoda searches for Krishna, persuades him to come to her, addressing him with many attributes - likening his face to moon , eyes to lotus, his ornaments, anklets, necklace all making into the lyrical expression was interpreted with ease and charm by Raisa. There was also reference as to how Krishna displayed ‘universe’ in his open mouth, to Yasoda.
Raisa concluded her show with tillana in Khamas in Tisram beat. It was a dance of pure nritta, combining deft footwork with lyrical grace and sculpture like postures. This dance was dedicated to Lord Krishna.
Raisa’s mudras were apt for the themes she presented.
