Soorya Parampara festival in its Kochi edition showcased young but seasoned dancers with a proud legacy of illustrious gurus. Madhulita Mohapatra, a protégé of Aruna Mohanty, showcased ‘Shivam Dheemahi’ with her group, which included Akila Venkat, Monalisa Mondal, Sahana Maiya and Vivekini Das.
The synchronisation and energy was evident, giving ample scope for choreography. The grandeur of Shiva’s dance was depicted with riveting music.
Reddi Lakshmi during her Kuchipudi recital
The group featured their latest production, ‘Mirza Sahiba’, an adaptation of the Punjabi legend. While Madhulita portrayed the beautiful Sahiba, Paridhi Joshi essayed the role of the valiant archer, Mirza. The childhood sweethearts elope only to be confronted by Raiwat, Sahiba’s brother, performed by Sonali Mohanty. To avoid a bloodshed, Sahiba destroys Mirza’s arrows, leading to the tragic end to the love story.
The masculine dance of Mirza and his group in a market scene, with acrobatic movements and martial arts sequences, was a highlight. The death of the two lovers was portrayed poignantly on stage. Narratives and dialogues also communicated the storyline effectively. The elements of stagecraft were sparingly used and theatrics were restrained and effective.
Lopamudra Jena
Reddi Lakshmi’s Kuchipudi recital, in the first part, wasn’t up to the mark on account of lack of presence and expression. The game of dice she presented in ‘Aaj aaye Shyam Mohan’, followed by the disrobing of Draupadi and the complaint of the Khandita nayika, ‘Muddabaddura Mohananga’ javali, lacked detailing and conviction. However, she essayed ‘Durgasthuti’ well, portraying the fierce fight of the goddess Durga with Mahishasura. The ‘Sivatarangam’ was gracefully performedwith due accent on grace.
Well-defined footwork
Professionalism and excellence marked the Kathak dance of Hari and Chethna, a couple from Noopur Performing Arts Centre, Bengaluru. Tastefully done costumes and scintillating music added sensuousness to ‘Chaliye kunjan mo’. Hari’s graceful movements and well-defined footwork in a jugalbandi with tabla beats shone with its technique and crispness. There was a perfect balance of layakari and bhava in the other items too. His eloquent dance and body language further came to the fore in an item on Shiva. The god was represented as Shiva and Shakti in Ardhanareeswara, and as the paramjyoti and swayamjyoti, the light that self illumines and transcends.
Hari and Chethna
Lopamudra Jena’s Odissi recital, though amateurish in parts, was good in the nritta aspect. In an invocatory number, ‘Pranamami divakaram’, the dancer presented the sun, which is the source of all energy and thus representing the Trinity, being carried on a chariot with seven horses.
Her abhinaya in the ‘Shritha kamala kucha mandala’ ashtapadi that tells of complete submission to lord Krishna was praiseworthy. A famed dance composition of Kelucharan Mahapatra, with lilting Odissi music, the piece depicts Krishna as the cause of radiance in the solar system and the vanquisher of Kaliya and other demons.
Navya Natarajan presented Bharatanatyam, and Devi and Girish performed Kuchipudi on the other days of the festival.
The programme was jointly organised by Soorya and Kerala Fine Arts society.
