When temple festivals form the theme of a dance series, can those known for their grand utsavams be left behind? Dancers such as K.P. Rakesh, Medha Hari, Sheejith Krishna, Karuna Sagari and Parshwanath Upadhye brought alive the sights and sounds through their performances at the recently concluded Uthsava Bharatham series, organised by Natyarangam.
There are times when simple and straightforward narration appeal the audience as it was at K.P. Rakesh’s ‘Tirupati Brahmothsavam’. He presented the speciality of each day of the festival.
Venkateshwara Suprabhatham followed by the popular song ‘Brahmamokate’ with which K.P. Rakesh began his performance struck an instant chord with the audience.
The vahanas used during the processions were depicted aesthetically, especially the coordinated snakelike movement of the four dancers, two as the palanquin bearers and two as sesha moorthy idols, for the procession of the Chinna Sesha vahanam, was well-conceived. Simple choreographic patterns elevated the presentation, but the dancers should have focused more on the synchrony of movements, especially in scenes like pulling of the chariot. Sivasri Skandaprasad’s singing enhanced the visual appeal.
Tiruvannamalai Deepam
Medha Hari’s dance perfomance on thiruvannamalai Deepam, for Natyarangam 2022. | Photo Credit: SRINIVASAN KV
Tiruvannamalai, one of the panchabhootha sthalams of Shiva, was explored by Medha Hari in her solo performance. Using sollukattus and ‘Om Namah Shivaya’ chants, Medha depicted the form and various attributes of Shiva, moving seamlessly between nritta and postures.
The glory of Tiruvannamalai kshetram was taken up for depiction with the story of Vishnu and Brahma going in different directions to locate the ‘Aadhi’ and ‘Antah’ of Shiva, Shiva’s curse on Brahma, and Shiva taking on the form of Arunachala hills.
Medha Hari’s dance perfomance themed on Thiruvannamalai Deepam at Natyarangam 2022. | Photo Credit: SRINIVASAN KV
Medha with her stage presence was able to communicate her ideas effectively. But a little restraint would have lent depth to her natyam. Though some of the scenes such as boring into the earth and flight of the bird were beautifully visualised, repeating ideas could bring in weariness. Also, moving in and out of the spotlight was disturbing.
Medha Hari’s dance perfomance themed on Thiruvannamalai Deepam, during Natyarangam 2022. | Photo Credit: SRINIVASAN KV
The spectacle of Karthigai Deepam was incorporated too, but the overall presentation focused more on the kshetram than the uthsavam.
Thiruvananthapuram utsavam
Dance performance by Sheejith Krishna - Sri Padmanabhhsavamy Panguni Uthsavam and Aippasi Utsavam for Natyarangam 2022, at Narada Gana Sabha . | Photo Credit: PICHUMANI K
Sheejith Krishna’s presentation was themed on the Panguni Uthsavam and Aippasi Uthsavam held at Sri Padmanabhaswamy temple, Tiruvananthapuram. Sheejith, who had choreographed the piece, had judiciously blended the elements of nritta and bhava, both in his solo and group presentations.
Dance performance by Sheejith Krishna and team, ‘Sri Padmanabhhsavamy Panguni Uthsavam and Aippasi Utsavam’ for Natyarangam 2022, at Narada Gana Sabha. | Photo Credit: PICHUMANI K
For the Swati Tirunal kriti ‘Devan ki pati indra’, he portrayed Padmanabha in all his glory. As a devotee/sutradhar, Sheejith elaborated on certain rituals, and narratives to link their depiction in group formations at regular intervals. His expertise in abhinaya helped in communicating the ideas with clarity.
Sheejith Krishna and team presenting ‘Sri Padmanabhhsavamy Panguni Uthsavam and Aippasi Utsavam’ during Natyarangam 2022 at Narada Gana Sabha. | Photo Credit: PICHUMANI K
The dwajarohanam, palanquins, and Arattu procession were highlighted through various group patterns. A little more attention to detailing would have enhanced the production value. The entries of group dancers in the background, even as an abhinaya session was in progress, and the non-synchronised movements of the palanquin bearers disturbed the sequence.
The bhava-rich singing by Jyotishmathi added to the presentation. The orchestra members and dancers, attired in off white and gold, offered a slice of Kerala.
Tiruchendur temple
Dance performance by Karuna Sagari - Skanda Shasti for Natyarangam 2022, at Narada Gana Sabha. | Photo Credit: PICHUMANI K
There is immense scope for dramatic story telling when it comes to Muruga, and Karuna sagari, who presented Skanda Shashti at Tiruchendur, conceptualised a very theatre-centric production.
Karuna Sagari - Skanda Shasti for Natyarangam 2022 at Narada Gana Sabha. | Photo Credit: PICHUMANI K
Beginning by denoting the geographical location of the town, Karuna Sagari moved on to depict the story of Muruga and Soorapadman, that culminated in the Soorasamharam in Tiruchendur. She brought together classical dance movements, martial arts, folk music, and dramatic lighting to highlight the theme.
The dance segments had a few interesting tableaux, heightened by swift and energetic movements. The dancers conveyed the idea impressively through well-choreographed formations, albeit a bit over-stretched.
The musical score was an eclectic mix of sounds.
Parshwanath Upadhye performing Dasara Mysuru at Natyarangam 2022. | Photo Credit: SRINIVASAN KV
Mysuru Dasara
The series concluded with Mysuru Dasara festival. Parshwanath Upadhye brought alive the celebrations through his engaging portrayal. He began his performance with Choornika — a prayer to Atma Vilasa Ganapathy. Filled with devotional fervour and serenity, the presentation was engrossing, and Parshwanath’s attention to detail while portraying the rituals was interesting.
Parshwanath Upadhye performing Dasara Mysuru at Natyarangam 2022. | Photo Credit: SRINIVASAN KV
Muthiah Bhagavatar’s varnam ‘Sree raja mathangi chamundeshwari’ in raga Suddhadhanyasi was the piece that he chose for elaborate exploration. Parshwanath, who had choreographed the varnam, presented it as a dialogue between a son and father, who introduces various stories and legends to the little child.
The duo enters the temple. The father rings the temple bell, and he notices his son’s enthusiasm to do the same. So he lifts his son to experience it. From the introductory moment, the communication between the two was effectively portrayed by the dancer.
Parshwanath Upadhye performing Dasara Mysuru at Natyarangam 2022. | Photo Credit: SRINIVASAN KV
The various sthala puranas, and rituals performed for Chamundeshwari were conveyed in a story telling format, but Parshwanath, taking liberties, added extensive instrumental interludes to express different ideas about the processions, folk arts, and mela that are intrinsic part of the Mysuru Dasara festivities.
The restraint in Parshwanth’s delineation of nritta and bhava madehis performance impactful.
The Chennai-based reviewer writes on classical dance.
