Fluid movements, graceful tribangi postures and statuesque poses marked the Odissi performance of Gokulsree Das and Shatabdi Mallik (disciples of Durga Charan Ranbir) during the 30th dance festival of Pollachi Tamizhisai Sangam. Gokulsree Das presented ‘Navarasa’ as the main item, bringing out the nine emotions through various episodes from the Ramayana. He portrayed each emotion vividly and when he enacted the scene of Jatayu’s final struggle, his death and Rama’s reaction, very few eyes remained dry. Later, Shatabdi Mallik teamed up with Gokulsree Das, Jyoti Biswas, Saralipi Chatterjee, Pallavi Dass, Poulomi Ghosh and Debasmita Kar for ‘Dasa Maha Vidya’ and ‘Buddha Upakshana’. The former was a deeply philosophical idea depicting the ten forms of energies as goddesses. What could have been a serious and dry presentation was made visually appealing with pleasing costumes, excellent emotive skills and lively footwork.
The latter, ‘Buddha Upakshana’ was based on important incidents from Buddha’s life. The episode in which Devadutta hits a swan with his arrow while young Buddha saves it with his compassion, stood out with its intensely moving dramatisation.
Sinni Krishnamayuri , disciple of Padmini Ramachandran, Bangaluru, was an epitome of elegance. Her ‘Ardha Naari Ashtakam,’ which had an immense potential to portray masculine power and feminine grace, made an impact. Periasamy Thooran’s ‘Velanai Kaanbom Vaareer’ in Khamas was a delightful blend of fleeting emotions and lightning footwork. Sinni's portrayal of a maiden smitten by love was charming. She walks on the foot marks of her lord seen on the ground and suddenly comes face to face with Him and melts in bashfulness. Though no girl would do such things now, it was pleasant watching the episode being depicted by the dancer. Sinni’s sancharis portrayed episodes from the lives of Arunagirinathar and Pamban Swamigal. The padam was also by Thooran ‘Ariyaapparuvamadhil Ennai’ and Sinni dazzled as a girl steeped in love. N. Sasidharan gave excellent vocal support.
Thanjavur Hariharan’s dignified nattuvangam, Thanjavur Senthil Kumar’s mridangam and
Chidambaram Muthu Kumar’s violin played a great role in making the show more impressive.
Mathula Kishore Kumar , daughter and disciple of guru Amutha Dhandapani, began with an invocation to guru and followed it up with the varnam, ‘Swaamiyai Azhaithu Vaadi Sakhiyae’ in Khamas by the Thanjavur Quartet.
The way she described the greatness of Siva (‘Avan Saamaanya Durai Alladi’) by depicting his burning of the Tripuras and holding the Ganges in his matted locks, was quite impressive. Slim and fit, Mathula flitted across the stage with energy and spread cheer. She presented ‘Innum Varakkaanaenae’ as the padam, pouring out the longing of the nayika waiting for her lord. The thillana in Durga was another piece full of lively jatis. Bhavani Kishore Kumar, her husband, gave excellent vocal support with his sensitive singing. The padam and the thillana were his own compositions. Amutha Dhandapani directed Mathula with her cymbals.
Pozhakkudi Naveen on the mridangam, Baiju on the veena and Thyagarajan on the flute added to the quality of the orchestra.
The next day, Revathi Srinivasa Raghavan from Mumbai presented a Bharatanatyam performance on Lord Siva and her disciples followed it up with a group performance ‘Bhaktha Pravaaham.’
On the final day, Sai Sruthi Krishnaswamy , disciple of Mahalakshmi Aswin, presented ‘Shwethaambara Dhaarinee’ depicting the greatness of Mahavani, Mahalakshmi and Mahakali. The varnam, ‘Innam En Manam’ (Charukesi - Lalgudi) was tailor-made for interesting sancharis and Sai Sruthi made good use of it. The padam ‘Naetrandhi Naerathilae’ brought out the anger of the jealous nayika. Sai Sruthi did a neat job with the supportive orchestra - Rithu Vinoth (vocal), Srilakshmi (violin), Mahalskhmi Aswin (nattuvangam) and Naveen (mridangam).
‘ Maayon ’, a thematic presentation on the life of Krishna, was presented by the Students of Tapas Academy , Chennai (Guru - Mahalakshmi Aswin). Ashwin Iyer (script) and Mahalakshmi (choreography),brought in the difference by connecting Krishna’s pranks to a vaster scheme of things.
Finally, they concluded with ‘Kamsa Vadham’, driving home the idea that good always conquers evil. Manasa Sriram, Krithika, Saishruthi, Sairam, Deepika, Shampavi and Tejasvee participated in this well-presented show.
Nalli Kuppuswamy inaugurated the festival and Chitra Visveswaran, member secretary, Tamil Nadu Iyal Isai Nataka Mandram, Chennai, presided.
