DANCE The Dance Jathre was an extraordinary opportunity to watch the best performers
D ance Jathre 2011 opened with a meticulous Odissi recital by Padmashree Madhavi Mudhgal and her group. Commencing their recital with the “Ga ni rae, ga ni sa “Pallavi set to raag Kalyan, one must appreciate her stupendous choreography. Good synchronisation, neat tribhangis and chowks, alternate movements amongst the dancers marked the aesthetics of her recital.
With the music composed by Madhup Mudgal, the overall slow pace enabling the dancers to create scintillating sculptures. The vistaar exploring the nritta aspect as in Pallavi of Odissi highlighting the rhythmic patterns begins with a static pose by Madhavi. The “dhin ta dhin dhina” bol with the circular movement beginning with the dancers performing alone, eventually merges in group. Usage of the proscenium aesthetically forming distinctive geometrical shapes with Madhavi Mudgal showcasing her aptitude as a soloist and her assimilation into the group speaks of her gusto not only as a performer, but also as a brilliant choreographer. Arushi Mudgal's performance catches an aficionado's eye.
Madhavi concluded her recital with “Soham Asmae” with the verses adapted from Isoponishad commencing with the shloka “Purnamadha, Purnamidam”, defining the intermingling of the inner soul with the outer, thereby propitiating the non-duality of life as a befitting finale.
Vyjayanthi Kashi's “Krishna Arpanam” began with a lullaby for baby Krishna and Kashi's entering onto the stage as a “Poothana” made a spectacular beginning. Her use of a black skirt to evoke the evil intentions of the demoness, a Yakshagana Chende in the music, usage of the adavus to portray the charis concomitant to that of the demoness, and her gradual metamorphosis into a beautiful damsel through the usage of a teerasheela, thereby switching over to her traditional Kuchipudi costumes… every bit of it deserves a standing applause. However, there was a lack of synchronisation amongst her group members.
The performance by Yana Louis Dance Company was marked with grace, petite female dancers, mellifluous movements pivoting the items around the genre of Western classical ballet was outstanding. However, the best performance in this series of Dance Jathre was the group headed by the Kirans. Tastefully costumed, the production Aarambh is magnificently choreographed by the dancer Guru duo. An achievement of a Guru reaches its climax when the creativity generated is successfully integrated amongst the students. Here lies the credibility of the Kirans as Gurus.
The astounding choreography speaks about the Kirans being genius in their creativity. The natta and thatta adavus, the thattamettus with unimaginably excellent synchronisation embellished the overall effect of the performance. Recitation of the slokas to delineate the various shiro vedas, the padavedas as mentioned in Natya Sastra forming excellent geometrical patterns. The piece concluded with navarasam brilliantly. The concluding tani avartanam influenced by a Carnatic kutcheri, was exquisitely portrayed by the disciples of the Kirans. Instead of moving in order, the choreographer imaginatively used the dancers in random to execute the charis. Brilliant timings, neat defined adavus, spectacular teermanams speaks for the Guru's hold over the art form. Above all, his taut nattuvangam supported the production throughout.
Bharati Shivaji's Mohiniyattam on the second day began with a Ganapati stuti in raag Arabhi set to chempada tala. Perfect synchronization, beautifully drawn meivazhakams, chaudasadams in awesome permutation and the chuzipoos, augmented the overall effect of her group choreography. Graceful as it could ever be, the recital moved to “Chandana Charchitam” set to raag Mohanam. The Mohiniyattam concluded with a pandaattam in Chempada tala which allegorically represents the ups and downs of our lives with the ups and downs of the ball.
Maulik and Ishira's Kathak Production “Formatica” was an abstract concept. Exquisite chakkars, good well-thought out choreography with Kadam Parikh's eye-catching movements and expressions spoke for a rounded performance.
The event concluded with Nrityanrutya's production Mars – a brilliant choreography set by Satya. They concluded with Ardhanarishwar, a marvellous production speaking forth of their perseverance as dancers.