Nalanda Kendra Ratna Puraskar award function and Nartanotsava were held at the Kanaka Sabha of Nalanda Nritya Kala Mahavidyalaya for two days.
Nalanda Kanaka Nartana Puraskar for the year 2017 (Deepak Mazumdar, Sunanda Nair, Uma Rele) and for the year 2018 (Ambika Vishwanath, C. Gopalakrishnan, Jhelum Paranjape and Shila Mehta) were presented during the two-day event.
Day one opened with ‘Rele Nartana Parampara’ featuring the third generation Bharatanatyam dancer Vaidehi Rele Lal presenting Simhavahini, Pada varnam in Ranjani with involved commitment.
Uma Rele waxed emotional while narrating how she became a member of the Rele family, the responsibility of carrying on the parampara that came with marriage.
Uma depicted ashtarasas in the opening line ‘Indendu Vachitivira,’ (Suruti, Misra chapu, Kshetrayya). Ambika Vishwanath on the vocal repeated the lines with suitable emotion. Kanak Rele, showcased the eight rasas from Natyasastra, as penned by Bharatha Muni, and choreographed by her.
“I was just 10 when I learnt the rasas. All the blessings of my Asaan. My master gave me antique Kathakali jewellery bundled in old clothes, which I cherish till date,” said Kanak Rele.
In the finale, the dancers of three generations got together, much to the enjoyment of the audience. Ambika Vishwanath on the nattuvangam and vocal, Satish Krishnamurthy on the mridangam and Satish Sheshadri on the violin were excellent support to the established dance family.
Deepak Mazumdar, senior alumnus of Nalanda, awardee for 2017, termed Kanak Rele as his role model. “I walked through Indian culture, holding Kanakji’s fingers. She specially designed pieces to suit a male performer,” announced Deepak.
Lines from Valmiki Ramayanam, set in Ragatalamalika was an emotional sojourn, story beginning with Mareecha. With wet eyes and quivering lips, Deepak brought forth the viraha of Rama, as he embraces the Uthariyam of Sita. The next presentation was from Krishna Karnamritam and scene of Yashoda putting Krishna to sleep.
Odissi exponent Jhelum Paranjape, awardee for 2018, took up the story of Savitri the young undaunted woman who confronted God of Death, to rescue her husband Satyavan, from impending death. “The vana varnanam, description of the beautiful forest as Satyavan and Savitri are together, forms a suitable start.” Yama Katha Mama Katha was a dramatic duel between intelligent innocence and imminent destiny.
Concept and research by Kanak Rele, set to music and choreographed in Odissi style by Jhelum made for a comprehensive piece. “Inputs from Kanakben for music selection added to the visual effect. She suggested that I set the Yama segments to only adlib, ie singing and use rhythm for Savitri’s character,” informed Jhelum.
“This is the premier show of this new production from Pativrata Parva of Mahabharat,” added Jhelum.
On Day two, Kathakali presentation by C. Gopalakrishnan, faculty of Nalanda, showcased Duryodhanavadham, a small scene from broader narrative of Mahabharata, cherry picking dramatic scenes depicting the rivalry between Pandavas and Kauravas and its inevitable denouement. The scene is Kurukshestra battlefield, a serious duel ensues between Bhima and Dushasana and the latter is killed.
Kalamandalam C. Gopalakrishnan as Bhima and Kalakshetra Narayanan as Dushasana were energetic and effective.
Sunanda Nair, Mohiniyattom exponent, opened with story woven around the episode of Kubja, the hunch backed maid servant and Krishna in Yadukulakhambodi, Misra chapu.
Bent with the gruelling burden of carrying heavy vessels to the palace, making sandal paste for Kamsa’s body, her lonely soul yearns for solace. She pleads Krishna to rescue her from the bondage of slavery of Kamsa.
Krishna comes to her and asks for a little chandana for tilak. In return he breaks the chain of bondage and removes the lump on her back. Analogically Kubja represents the soul of the Indian woman oppressed for millennium by man.
Vallabhacharya’s verses from Madhurashtakam in ragamalika and talam Adi, highlighted the sweetness of Krishna’s persona. Episodes of Krishna and Sudhama, Gita upadesam and the dancing of the Gopis in Vrindavan were explored to enhance visual appeal.
Nimitta, concept and choreography by Kanak Rele was adapted to Kathak style and presented by Shila Mehta. The choreography avers that everything is part of the cosmic design. Shikhandi, born woman, became a man, destined to be the nimitta for Bhishma’s defeat in Mahabharata. Nimitta voices the issue of gender bias, prejudice against the third gender. Gender comes from flesh, the soul has no gender.
“Nimitta is a raging social comment in the contemporary context. Indian legends have always accepted neuter gender, who have performed righteous actions of the highest order in our history,” informs Mehta.
The Charani Parampara of motion through Kathak is used in music section with Charani Chhanda and vocals. Charani style, one of the oldest styles of telling stories is Naad Pradhaan.
Music and vocal by Somnath Mishra, rhythm by Vivek Mishra, sarangi by Sandeep Mishra, sitar by Zubeir Sheikh, special effects by Hemang Mehta, recitation by Anand Singh and Shila Mehta and lyrics by Dr. Deepak ‘Sneh’ together enhanced the brilliant execution by Shila Mehta. A well- researched and well-executed presentation, Nimitta was applauded by a well-informed audience.
