The state-of- the-art Amritanjali studio in Pune is a cozy space. And the host, dancer Shashikala Ravi, was warm and welcoming even as she attended to last-minute logistics.
Amritanjali Festival of Classical Dance and Music began with the lighting of the lamp and chanting of ‘Asatoma’, the shanti mantra by Ravi’s disciples.
Swati Tirunal’s ‘Shankara Srigiri’ in Hamsanandi was the invocatory piece performed by Ravi, propitiating Siva. Set with interesting jatis and sancharis, it was well executed.
‘Bhasma Trinetra,’ the Manmatha episode, was extended to include the tapas of Siva. Picturesque poses in swara segments, depicted the Lord in all his glory. Trained under Guru Swarna Saraswathi and Kalanidhi Narayanan, Ravi has performed across the world.
Krishna episodes
‘Gopalaka pahimam anisham’ in Revagupti was packed with many Krishna episodes such as the changing emotions of mother Yashoda, searching for and scolding her little one for eating mud, Krishna showing her the universe in his mouth and the bond between Sudhama and Krishna.
The Kurukshetra war, ‘Yada Yada hi,’ words of wisdom from the Gita, narrated by Krishna, and the Vishwaroopam were images portrayed with effect, enhanced by energetic mridangam strokes.
Jatis ending with ‘Gopala’ and ‘tava bala,’ intoned by disciple Kartika on nattuvangam, the emotive singing by Shivprasad, scaling pitches with ease, at times lowering the tone to soft decibels, supportive mridangam by Mumbai Shankaranarayanan and the melodious flute by Sanjay Sasidharan, complemented the crisp presentation.
The piece offered immense scope for abhinaya that Ravi made good use of. Her eyes were eloquent and the poses were appealing.
In the second segment, Lakshmi Vishwanathan began with the prelude ‘Kunitha puruvamum’, verses from 7th century poet Appar, describing the beauty of Siva. ‘Enneramum undan sannidiyil’ from Nandanar Charitam by Gopalakrishna Bharathi with its emotion of humble piety was a heartwarming portrayal. ‘Sancharadadhara’, Jayadeva’s ashtapadi was another poignant piece. The madhura dhwani of the flute, the gopis hanging on Krishna’s shoulders, Krishna basking in their bhakti and love, the veteran dancer was at her emotive best.
Love begets jealousy and the nayika who generally confides in her sakhi had many questions to ask in the Kshetrayya padam. ‘Edukku ithanai modi’, Ninda stuti filled with sarcasm further established a rapport with the audience. The dancer’s versatility stood out in the numerous variations in ‘Modi’. The piece was abridged, making the audience want more.
Khandita nayika in javali chided Krishna who comes late, does not keep promises and so on. ‘Nee Matale Mayanura’ was casual and convincing. The opening notes in veena set the mood for the concluding abhang in Brindavani.
Bama Visweswaran on vocal, Mayuram Shankar on mridangam and Mudikondan Ramesh on veena formed the orchestra.
Lakshmi termed the festival as an intimate gathering of art lovers. Her interactive session on her journey in dance was highly engaging and the children enjoyed the humour-laced session.
Shubashree Ramachandran’s vocal recital formed the third segment. She was accompanied by Usha Rajagopalan on the violin and Mannarkoil J Balaji on the mridangam.
Shubashree Ramachandran
Setting the pace with the Khamas varnam, ‘Mathey’, Shubhashree moved on to ‘Gam Ganapathe’ in Hamsadhwani, both composed by Harikesanallur Muthiah Bagavathar.
Next came ‘Saamagana loley’ in Hindolam, composed by GNB. This was followed by Tyagaraja’s ‘Manavyaala’ in Nalinakanti. Detailed raga delineation with brigas in Kalyani preceded ‘Vasudevayani’. Jayadeva’s Ashtapadi ‘Gaayathivana’, popularised by Balamurali Krishna was an impressive rendition. Narayana Theertha’s ‘Kalyana Gopalam’ in Sindhu Bhairavi was a befitting finale.
