Bharatiya Vidya Bhavan and Maha Maya, Bangalore, presented an endowment programme comprising two Bharathanatyam recitals in memory of the iconic dance duo U.K.Chandrabhaga Devi and U.S.Krishna Rao.
The evening began with a performance by Sneha Narayan, recipient of ‘Smt.U.K.Chandrabhaga Devi and Sri.U.S.Krishna Rao Scholarship 2014’. Salutations were offered to Vighnaraja, the remover of obstacles, and to Saraswathi the fountainhead of beauty and learning through verses set to a ragamalika and thalamalika, punctuated with crisp jathis. The following jathiswaram in Kalyani raga and adi thala featured beautiful nritta that divided each line into diverse rhythmic components executed with neat lines and stances.
The Lingaraj Urs composition ‘Sringara Lahari’ in Neelamabri raga and adi thala was next, beginning with a series of flexible, elegant moves and alluring poses suggestive of the splendour and supremacy of the Supreme Mother, the consort of Shiva. The three items presented thus far, retained the original choreography of the legendary gurus U.K. Chandrabhaga Devi and U.S.Krishna Rao and were worthy tributes to the exquisite artistry of the late couple. The Purandaradasa devaranama ‘Kadagola Tharenna Chinnave’, though not intensely emotive, was replete with charming glimpses into the childhood of Krishna and a mother’s indulgent fascination with his antics.
The segment concluded with a thillana in Simhendramadhyamam raga and adi thala which incorporated a series of lateral and diagonal movements across the proscenium space in multiple tempos, characterised by light-footed accuracy. The accomplished live orchestra included Shobha Venkataramani and the young artiste’s guru Praveen Kumar (nattuvanga), Raghuram (vocal), Dayakar (violin) and veteran mridangist Rangaswami.
Anuradha Vikranth and disciples of the Drishti Arts Centre, dancing to recorded music, commenced with well coordinated pure dance set to swara passages, and proceeded to pay obeisance to the Lord in Ganapathi Vandana. ‘Arishadvarga’ used recitation of Sanskrit verses and instrumental and vocal music to portray, through instances drawn from mythology, the adverse effects of an excess of kama, krodha, lobha moha, mada and mathsarya. Kaikeyi’s demand that Bharatha be made king as an instance of ‘lobha’ and Ravana’s ‘moha’ towards Seetha were part of the strikingly conceived and engaging piece, which employed alternating clusters of dancers to delineate the theme.
The envy of Duryodhana, who is deluded into thinking that there is water where there is none in the new palace of the Pandavas, was particularly well done.
An impeccably synchronised and energetic group of five presented ‘Shiva Padam’, a paean to the protective power of Lord Shiva’s feet. An extract from Pathanjali’s ‘Shambhu Natana Sthothram’ was prefixed to Nijaguna’s lyrics, interspersed with jathis with complex rhythms, diverse charis and karanas, and attractive formations, and included episodes such as Ravana’s lifting of Kailasa and the destruction of Manmatha.
The ensuing solo by the lead artiste was a convincing depiction of the lovelorn nayika in 'Sendru Varuven Endru’, a padam set to a ragamalika in adi thala. She recalls, wistfully, the amorous and playful moments spent with her husband, who had left with the promise of returning soon.
The recital concluded with a vibrant thillana in Sumanesaranjini and adi thala.
