Orthodox rules do not confine a jugalbandi recital within a conventional structure. Within that broad framework, the basic requisite is that two artistes or art forms are presented on an equal footing during the performance. The Soorya Jugalbandi Festival held from December 6 to the 9 in Thiruvananthapuram underscored this very perspective.
Sandhya Manoj and Namita Bodaji
The opening jugalbandi was Katha, a thematic presentation in Odissi and Bharatanatyam styles, performed by Sandhya Manoj and Namita Bodaji, respectively. Conceptualised by Sandhya, an Odissi dancer from Malaysia, it juxtaposed two prominent women characters from the epics – Kaikeyi from Ramayana and Gandhari from Mahabharata . And they had their kathas (stories) to tell us.
The two women from across the ages meet on stage and Gandhari, blindfolded, says she recognises Kaikeyi from the arrogance in her voice, while Kaikeyi identifies the other from the blindfold that she wears over her eyes. One was labelled as the haughty and selfish wife of Dasharatha and the other, the virtuous wife of the blind king Dritharashtra. The two women reveal sides to their lives and personalities that the world has chosen to overlook.
The questions that the two women ask themselves are questions aimed at the conscience of society that conveniently sees women as submissive creatures expected to suppress their individualities, to fall in line with the whims and fancies of patriarchal families.
Different perspective
Sandhya, as Kaikeyi, proved to be the complete Odissi dancer. Through her expressive eyes and agile figure, she went through a gamut of navarasas in her portrayal. The depiction of the youthful princess through snippets of a pallavi, and the valour of the queen in the battlefield, were expressed through exuberant but precise nritta.
Namita Bodaji is a mature performer. She, however, could have used more phrases that are typical to the Bharatanatyam language, having chosen that as her medium to showcase her story. Despite that, she did communicate the anguish and dilemma of Gandhari. Sandhya penned the English narration.
Veena Nair and Dhanya Nair
The Nair sisters’ Bharatanatyam-Mohiniyattam duet was a study in perfection. With Veena Nair performing Bharatanatyam and Dhanya Nair, Mohiniyattam, the sisters, well-versed in both forms, danced without any trace of one form casting its shadow on the other.
Starting with a Ganesha stuti by Tyagaraja, they moved on to the main piece, which was the Dashavatara of Jayadeva. The depiction of the avataras followed the known versions, except for the Matsya and Vamana, which gave an interesting twist to the adaptation of this popular piece. The jathis in Bharatanatyam and Mohiniyattam that were interspersed alternately between each avatar, had the tones and modalities suited to the character of each avatar and were neatly executed by the dancers.
Plight of the Ganga
The piece that stood out, however, had contemporary relevance and was based on a Malayalam poem, ‘Thirike yatra’ by Murugan Kattakada. It portrays the ecstasy and the agony of the river Ganga, as she narrates her sad plight today.
Shrivelled in size, polluted beyond control and with barrages built over her, she laments that children no more frolic in her waters, kingfishers find no fish and there is no water that can be cupped in the palms for chanting the Gayatri. She cries out to the same Bhagiratha who had brought her down to earth, to take her back. Veena and Dhanya danced their hearts out, giving full expression to this powerful poem.
Tribute to the Sun God
Rekha Raju and Rekha Satish
Adityam, a thematic presentation on the Sun God, featured Rekha Raju and Rekha Satish in a Mohiniyattam-Kuchipudi jugalbandi.
What was perhaps conceived as an ambitious project, failed to express or impress. The programme of hardly an hour’s duration was cramped with mantras, stutis, suryanamaskars, folk elements — in fact, anything to do with the Sun god seemed to be jostling for space. The production could have been trimmed for content and the duration extended. For, there were some elements that would have stood out better — for instance, the portrayal of the lotus and the sun flower as vasakasajja and vipralabdha nayikas or the lame charioteer of the Sun, Aruna’s message to rise above limitation and to spread positivity.
In tandem
Devi and Girish Chandra
The festival concluded with a Kuchipudi duet by Devi and Girish Chandra from Hyderabad. The opening piece, a Surya stuti, choreographed by Vempatti Chinna Satyam, was dedicated to the 40th year of Soorya. Choreographed by the couple, the Tyagaraja composition Shambho Mahadeva was noteworthy for the elaboration on the stories of Markandeya, and Shiva drinking poison. A solo, Bho Shambho , choreographed and danced by Girish, exhibited the aspects of thandava, but could have been infused with more vigour.
Theruvil varano , brilliantly choreographed by Girish, portrayed Sati as the nayika. Particularly endearing was the part where the Nataraja Shiva teaches dance to Sati. Devi struck the right balance between pure dance and abhinaya, though her aharyam could have done with some fine tuning. The recital concluded with the Tharangam based on Shivananda Lahar i. The line Ananda natana vinoda brought out exuberant dancing and a true jugalbandi of rhythm on the brass plate.
