The annual Nritya Pratibha festival, hosted by Rasika Ranjani Sabha, Ghatkopar, was spread over three days. Select interesting pieces were presented by the disciples of Geetha Venkateshwar.
Pushpanjali in Ragamalika was on Ganesha, Saraswati, Lakshmi and Nataraja. The Khanda Alarippu was beautifully interspersed with verses from Siva Panchaksharam. ‘Devi stuti,’ refreshing composition of Lalgudi Jayaraman on Tridevi was performed by Aditi with flair.
Young Tanvi Kapoor with her captivating smile presented Shadakshara Kavuthuvam. ‘Parkadal alaimele,’ choreographed by guru Geetha, was a zestful portrayal of Dasavataram. Smruthi Ranganathan’s detailed delineation of ‘Varanam ayiram’ depicting the wedding of Andal was aesthetically appealing. Anupama’s ‘Hari Tum Haro’ could reach the audience through emotive episodes of Draupadi and Gajendra Moksham. Four of them coming together for a fast-paced Tillana of Balamuralikrishna was a fitting finale.
Extolling the Trimurti
Mohiniyattom by the disciples of Geeta Vijayshankar opened with Rangavandanam, in praise of Trimurti — Brahma, Vishnu and Mahesh — by the quartet. It was followed by Navarasas of goddess Durga in Ragamalika, penned by her guru’s great grandfather Keshava Pillai, presented by Sneha.
Khandita Nayika was explained in ‘Endane Vallabha’ padam by Indu Nair while the celestial tandavam was showcased by Harsha Menon. Rishika Pillai presented Swagatam Krishna, composed by Oothukadu, set to Mohanam, Adi talam with episodes from Krishnaleela and Kalinga nartanam. ‘Adimida’ in Mukhari, Adi, described Guruvayoorappan and Vishnu avataras.
Kuchipudi by disciples of Vijayshree Pillai was received well by the audience.
Mohiniyattom by disciples of Ramya Varma Jagdish of Nupura Fine Arts Academy, was true to tradition. The invocatory piece had Cholkattu followed by Ganapati Stuti. It was interesting to watch the solo padams performed by the students of Ramya, Viditha, Karthika, Jyoti and Vishnuja, who performed ‘Bho Sambho’ in Revathi, ‘Sreeman Narayana’ in Bowli, ‘Aliveni enthu chaivu’ in Nattakurinji and ‘Chidambaranada Nataraja’ in Shanmukhapriya, respectively.
‘Varika varika Sakhi,’ composition and choreography by renowned guru Kalamandalam Kalyani Kutty Amma, was beautifully performed by the four disciples, who did justice to the beautiful conception. They concluded with the famous Swati Tirunal Dhanasri tillana.
Bharatanatyam was presented by the disciples of Manjula Manoj, an alumnus of Kalakshetra. She performed the nattuvangam with Soumya on the vocal, Venkateshwar on the mridangam and Satish Seshadri on the violin.
Pushpanjali in Nattai in chatusra ekam, was followed by Dasavataram, composition of Dikshitar choreographed by S.P. Srinivasan. The swarams in ragamalika and crisp jatis and sancharis depicting Mareecha, Hanuman carrying the Sanjeevani, Rama-Ravana war, Balarama with the plough, Krishna-Kamsa duel, all painted a graphic picture. ‘Aaananda Natanam’ composed by Sudhananda Bharati, in Khambodi, Adi talam was a visual treat. Thillana in Hindolam adi and mangalam completed the neat recital.
Odissi by the disciples of Nivedita Mukherjee, began with Navadurga. Durga stuti, Shumbh Nishumbha, Mahishasura mardhini, incorporated in the choreography of nine forms of the goddess. The climax lines of ‘Ya devi sarva bhooteshu,’ was dramatic. Sculpted poses and perfect tribhangi added grace and grandeur. Ashtapadi on Chandana charchita Hari, choreographed by Kelucharan Mohapatra, in Ektali, Nagendra Haraya in Triputa taal with seven beats, were executed with precision. Saveri Pallavi in Ektali, four beats, had elaborate lyrical movements. Tholayi gopa tapped abhinaya skills.
Dasavataram ‘Pralaya payodhi jale’ in the original voice of Kelucharan Mohapatra was presented as a solo, proof of the lineage being carried forward.
Moksha was a good attempt at passing the aura of salvation to the audience. Bhairavi nritta piece was followed by Sarva mangala.
Sailaja Desai, chief guest of the evening, praised the well-coordinated Bharatanatyam and mesmerising Odissi performances, the powerful poses and the perfect Tribhangi. “Focus of mind, body and soul comes out in dance,” she said.
The gurus were awarded the title ‘Natyaratna’ and the dancers were also felicitated with titles for their dedication to the classical dance.
