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Sparkling abhinaya
HARISH BAL
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Ranjana Gauhar’s inherent grace and experience stood out in her performance.
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Ranjana Gauhar’s performance stood out on account of her sparkling abhinaya and right postures. Her inherent grace and experience were manifested in every move.
Well versed in Chau, Manipuri and Kathak, Ranjana, a disciple of Mayadhar Raut, has produced a number of dance ballets on contemporary themes. An independent film producer and researcher, her book, ‘Oddissi-The Dance Divine,’ gives rare insights into this dance.
She started her performance with Mangalacharan. Composed in Rag Bhoopali, the Saraswati vandana based on the lyrics of Kalidasa was noteworthy for its precision of movements and charis and beautiful and minimised execution of the ‘tribhanga.’
Swati Tirunal’s Hindi composition in Saveri ‘Aali main to Jamna jal bharan gayi’ was an instance of dazzling abhinaya. The nayika narrates the account of her visit to the Jamuna. The lyrical fluidity she imparted to the item was at once technically perfect and spontaneous.
Pure dance piece
A pure dance piece, ‘Pallavi’ highlighted the nritta aspect of Oddisi dance. The straight hand movements, neat lines, the charis and sculptural poses came alive in the dancer’s performance which was marked with ‘angashudhi.’
The ukutas recited by the mardala player were limited to this piece alone.
The dancer’s penchant for Swati compositions was evident in the famous Swati Tirunal bhajan ‘Vishweshwara darsan kar,’ originally in Sindhubhairavi raga, which was presented in Hindustani Asaveri in Khenda tal. Ramachandra Sahu’s vocals reached a crescendo with the panchakshari mantra as Ranjana kept time with vigorously performed swirls and movements.
The programme was organised by Kerala Fine Arts society.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
