Yamini Reddy, daughter and disciple of renowned Kuchipudi exponents Raja Reddy and Radha Reddy, gave a stunning performance at the 24th edition of Perur Natyanjali, organised by the Rotary Club of Coimbatore Metropolis. The Hyderabad-based dancer presented the twin aspects (Vishnu and Siva) of the One Absolute through ‘Harihara Dwaibhavam.’ Through ‘Aadaenammaa’ in Paraju by Pallavi Duraiswamy Iyer she depicted that Siva controls the five cosmic activities –– from His feet sprang the five types of rhythms and from His face erupted the nine emotions (navarasas).
‘Harihara Dwaibhavam’ by Yamini Reddy and team
Depicted with ease
Yamini performed incredibly difficult postures with ease and her face mirrored the nine emotions with great intensity. It was followed by the Charana Sringa Rahita Nataraja Stotram by Patanjali, with astonishing sound patterns, describing the mesmerising dance of the Cosmic Dancer.
Following a short prayer to Goddess Rajarajeswari, the team presented a Tarangam on Krishna (Bala Gopala Krishna Pahi Pahi) with brilliant abhinayas, sprightly jatis and the breathtaking steps on the rims of brass plates.
Kripa’s Center of Fine Arts, Chennai , offered the group presentation ‘Thakita Thath Jham’ as a joyous exploration of layam pervading the Universe. The team began with the sloka from Mandukyopanishad, ‘Ohm Ityaetat Aksharam Sarvam,’ tracing the beginning of creation to ‘Omkara.’ This rhythmic treat described the rhythm of Nature through varying seasons, the sounds of everyday life, the laya found in folk arts and the many layers of the talam. The well-researched performance included appropriate songs, poems and slokas from different sources.
Kripa’s Center of Fine Arts, Chennai, offered the group presentation ‘Thakita Thath Jham’
Bharatiyar’s ‘Thikkugalettum Sidhari’ brought alive the terrifying effects of storm on stage. The dancers brought alive Guru Saikripa Prasanna’s imaginative choreography and showcased how there is music and rhythm in every activity — be it pounding rice, washing clothes, sawing wood or hammering metal.
brief ‘margam’ by Nrithyangana School of Dance
The concluding day’s events began with a brief ‘margam’ by Nrithyangana School of Dance from Coimbatore. Guru Sherin George and her students presented ‘Natanam Aadinaar’ and ‘Vidai Meedhu Bavani’ in the Kalakshetra bani with appropriate sancharis. ‘Yati,’ the item that described the various arrangements of talams was the highlight. (The arrangement of syllables in a song gives a particular shape to its music and it is called ‘Yati’) Choreographed by Sheejith Krishna, this item demonstrated ‘Mridanga yati,’ ‘Damaru yati,’ ‘Gopucha yati’ and ‘Ganga Yati.’
‘Param’, a thematic margam presented by students of Guru Sheela Unnikrishnan’s Sridevi Nrithyalaya , was packed with energy and aestheticism. It attempted at defining the formless, genderless, indefinable Absolute. Appropriately, the dancers began with the first sloka from ‘Soundarya Lahari’ describing Siva and Shakti as one unit.
Param’, a thematic margam presented by students of Guru Sheela Unnikrishnan’s Sridevi Nrithyalaya
‘Veedarulum Pemmaanae,’ a varnam by Dr. Raghuraman gave the students plenty of opportunities to showcase their skills in abhinaya and footwork. The group also included many leelas of Siva through vivid sancharis. The Ritigowla thillana with sparkling jatis, composed by Kuldeep Pai, was vibrant with lovely formations and admirable co-ordination. The dancers wearing tasteful costumes made it a visual delight. The well-written script and the well-rendered introductions (by students) helped greatly in understanding and appreciating the abstract theme.
Noopur Performing Arts Center from Bengaluru stole the show with colourful costumes, vigorous movements and breathtaking ‘chakkars.’ Dressed in bright blue, symbolic of the infinite, Gurus Hari and Chethna, along with their students, portrayed the divine love of Krishna and Radha.
The students of Noopur Performing Arts Center from Bengaluru, along with Gurus Hari and Chethna
Swati Tirunal’s ‘Chaliyae Kunjan Mon,’ a delightfully romantic composition followed it. Hari and Chethna brought alive the longing of a Gopi for Krishna’s company and also her hesitation and fear that people might mistake her if they see her holding His hands. Towards the end, the performance took a deeply spiritual turn. Describing God as the Supreme , the dancers presented a few slokas on Siva from Viswanathashtakam and Sivashtakam and concluded with the Mrityunjaya mantra. Despite being vibrant and powerful, the performance brought immense peace and tranquility.
