Although only three programmes were presented as part of Bharathotsavam, the festival of dance and music was enjoyable thanks to gifted artistes. Flautist Kudamaloor Janardanan was compelled to cut short his concert due to time constraints. But this did not prevent him from demonstrating his mastery over the instrument and his creativity.
Janardanan’s quest for exploring the ragas was evident as he opened with Navarasa kannada, the raga most suited for instruments like flute and veena. The myriad hues of the raga appeared as he played it in Misra Chap, very often using a bansuri for lower octave. Swaras anchored on ‘kanakku’ were played in quick succession but he was careful not to overdo the same. It enhanced the beauty of the ragas.
Swathi’s Bhavayami Raguramam... received a novel treatment. Ragas Saveri, Nattakurinji, Dhanyasi, Mohanam, Mukhari, Poorvikalyani and Madhyamavathy were presented in order before the composition was rendered in full. Interestingly, he elaborated the ragas in reverse order as well, thereby proving once again his proclivity for improvisation. Saveri was soothing as he opened it using the bansuri in the lower sthayi. However, one felt that it could have been more appealing if each charanam was prefixed by alap.
Guruvayur Sanoj on the mridangam was at his best, for which Kottayam Unnikrishnan contributed in no small measure on the ghatam. Janardanan could depict the emotive nuances of Papanasam Sivan’s popular composition Enna thavam seithene Yasoda... in Pilu and Adi, the last number.
Mohiniyattam recital by Rachita Ravi was remarkable for traditional numbers as well as her dexterous abhinaya and nritta. Narthana Ganapathi, excerpted from Balaramabharatam, was delectable. Sree vighna rajam bhaje..., a composition in Gambhira natta and Khanda Chap by Uthukkad Venkatasubbayyar, was tagged to it skilfully.
Palayamam deva deva..., a Swathi varnam in Poornachandrika, received a lucid portrayal of Siva. Poornachandrika nibhanga... was taken for sanchari, and it narrated the events that led to the union of Siva and Parvathy. Anecdotes depicting Parvathy’s yearning for Siva and Siva’s appearance in the guise of a brahmachari highlighted the histrionic potential of the dancer.
Kalamandalam Rachitha Ravi
‘Karnaayanam’, choreographed by Rachita, was soul-stirring. Based on a novel by Shivaji Savanth, Rachita portrayed Karna as a hapless victim of ridicule on varied occasions. Composed in Rasikapriya, Nattakurinji, Behag and Vasanth by Valaya Rajendran, lyrics by Kalamandalam Manoj were brilliant.
Rachita painted a graphic picture of a vipralambha nayika in the sixth Ashtapadi, Sakhi, hey kesi madhana mudaram.... Her portrayal of reminiscences of ‘Sambhoga sringaram’ with Krishna in the past was captivating to watch. Raga Sudhasaranga and tala Misra Chap in which the lines were composed contributed immensely to communicate Radha’s pangs of separation.
Revathy Vayalar Kalakshetra and troupe enthralled the audience with a Bharatanatyam recital.
The kirtana Ananda koothadum pada malar kanden in ragamalika and talamalika was specially noted for the Yatis - Sammam, Vishamam, Mridangam, Damaru, Gopucham and Srothovaham. Choreography by Sheejith Krishna Kalakshetra was laudable.
Nandi chollu..., an invocatory dance to Siva, was delightful as the tandava of Siva was performed to the mnemonics of Nandi’s mridangam. Devoid of sahithya, the presentation was exhilarating and the fast number in chaturasra eka received applause from the audience. The disciples included Saneesh Kalakshetra, Gorries Shaji Varghese, Darshana Sunil and Drishya Sunil.
Keraleeyam by Revathy Vayalar Kalakshethra and team
‘Keraleeyam’, a group presentation in three parts, explored Nature’s blessings on Kerala, vignettes of its cultural heritage and degeneration of social values.
The performance concluded with a vibrant thillana in Amruthavarshani. The three-day festival was organised by Bharatham, Thrissur.
