International Arts and Cultural Foundation, Bangalore, presented ‘Bhava Raga Tala’, comprising two solo Bharathanatya recitals, recently.
Jyotsna Jagannathan, who performed first, began with a mallari, set to mishra triputa tala and Gambhiranatta raga. The organically evolving rhythms germane to the item were performed with grace and precision, maintaining clarity of line and steadfastness of stance. The centre piece of the performance was the Tanjore Quartet varna in Khamas raga and adi tala ‘Swamiyai Azhaithu Vadi’, an exposition of the virahotkhanditha nayika pining for Lord Sundareswara of Madurai.
Diverse interpretations of the sahitya, addressed to the sakhi, were aided by a mellow tempo. They included succinct but effective representations of the echo of Lord’s damaru in the pulsating heartbeat of the heroine and the fire in his palm represented in the scorching heat of her agony. Multiple facets of Shiva, as ascetic, as resplendent divinity, and as cosmic dancer for whom music is provided by none other than the gods, found expression within the structure of the item. An instinctive feel for the proscenium space, evident in the wide arcs, circles, lateral and diagonal movements was buttressed by a fine sense of rhythm and firm but unobtrusive footwork.
The Purandaradasa ragamalika ‘Chikkavane Ivanu’ was a sprightly representation of the young but naughty Krishna embarrassing the gopis with his outrageous questions and audacious behaviour. Given the time constraints, the recital was well conceived and elegantly presented, though the inclusion of a deeply emotive abhinaya piece would have further augmented the impact.
The second artiste of the evening, Sathyanarayana Raju began with the demanding ashtaragamalika varna, also of the Tanjore Quartette, ‘Sami Ninne Kori’ in rupaka thala, a paean to Lord Brihadeeswara. Complete internalization of the theme incorporating the nayika’s love and devotion to the Lord, grip over technique, impressive histrionic acumen and stamina were explicit throughout the item. Among the various episodes narrated, the one pertaining to Nandi blocking the view and the ultimate vision of the Lord was particularly poignant. The elaborate choreography and the exacting rhythms and variety of the jathis testified to the skill and agility of the dancer.
The beginning of the ashtapadi ‘Vadasi Yadi’ with the refrain ‘Priye Charusheele’ was taken up for a convincing delineation of Krishna’s entreaties to a distraught Radha, stating that she is his adornment, his jewel and his life itself, and seeking to win back her affection. The depiction of his efforts to coax and placate her with his own ornaments, his peacock feather, and the divine music of his flute, were engaging. While the vocal accompaniment was laced with pathos, the dancer’s interpretation seemed more playful than intensely remorseful.
The excellent orchestral ensembles for the two performances comprised Vasudha Balakrishna (vocal), Srilatha and Pulikeshi Kasthuri (nattuvanga), Mahesh Swamy and Raghunandan (flute), and Srihari and Balakrishna (mridanga). On the whole, the evening demonstrated the old world charm, the eternal relevance and the immense scope of a traditional repertoire that has been enriched by the inputs of several generations of gurus and artistes.
