It is her endeavour to give back to art what she has received from it. Revathi Srinivasaraghavan, Bharatanatyam artiste, hosts Kala Samarpanam, a major dance festival in the city, every year, featuring high calibre practitioners for the benefit of an artistically inclined audience and dance aspirants. The festival is a confluence of different classical dance forms.
Stalwart Manipuri dancer Darshana Jhaveri and Latasana Devi presented in traditional Manipuri style Ashtapadi and Raas Leela. Solo by Brojen Singh was well received.
The group performance with the glittering costume, lilting music and drummers was captivating. The entire group came together for a fitting finale.
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Revathi presented an Alarippu in Tisra dhruva talam was interspersed with Tirupugazh in 11 aksharas. ‘Bana chale Rama Raghu,’ a Tulsidas composition in Hindustani Todi, delineated the scene of Rama leaving for a 14-year exile with Lakshmana and Sita. The pangs of separation experienced by the people of Ayodhya, Kausalya’s motherly torment, grief stricken Dasarata’s anguish were brought out by the poignant emoting that moved the viewer.
The concluding Tillana in Sindhubhairavi and Jugalbandi proved the artiste’s prowess in the nritta segment. Orchestra support by Satish Krishnamurthy on konnakkol and mridangam, Anirudh Srinivasaraghavan on the vocals and Devrajan on the violin enhanced the visual experience.
Kathak by Pooja Pant showcased Taal Dhamaar in 14 beats followed by a Thumri and Kajari. Shringara rasa in both forms, Sahyog and Viyog, was well brought out. The Tarana, conceptualised and choreographed by Pooja, explored the interesting combination of Kathak and magic. The unique music deploying Indian instruments and beat boxing was an attractive blend.
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Krishna was the focus
The second day opened with Mohiniyattom by Sudha Peethambaran and her senior disciples from Kaladi. They presented a Ganapati stuthi and cholkattu dealing with Saraswati stuthi. Sri Krishnaya Namah, all about Krishna in his various persona, was the highlight of the repertoire.
Pavitra Bhat offered Devadi Deva Varnam, a composition of Veena Seshanna, in Shanmukhapriya, Adi talam. Clean sancharis, clear-cut lines and energetic leaps were notable highlights in his performance. Musical ensemble of Kaliswaran Pillai on Nattuvangam, Mangalam Krishnan on the vocals, Satish Krishnamurthy on the mridangam and Narayan Parthasarathy on the violin added to the quality of the recital.
Anupama Mohan, noted Kuchipudi dancer, presented a beautiful Ashtapadi followed by Siva Stuthi, Ardanareeswara. Kannappa Charitam, which she had choreographed, was a visual treat. Her performance was noteworthy for her composure and graceful poise.
The two-day fare was enjoyed by a full house. “The audience attendance on both days, in spite of the heavy spells of rain was a huge motivating factor,” acknowledged REvathi.