It was a privilege to watch the acclaimed Bharatanatyam exponent Saroja Vaidyanathan at the just concluded Vysakhi Nrityotsav, organised by Nataraj Music and Dance Academy in Vishakhapatnam. Clad in an orange silk sari, the Padma Bhushan awardee opened the second evening with an internalised and soul-stirring performance set to Tulsidas’s “Ramchandra Kripalu Bhaja mana” in Ragamalika. This was followed by her choreographed Bharatanatyam ballet “Namami Gange” by her troupe Ganesa Natyalaya on the prevention of pollution of the river with a contemporary interpretation. The presentation began with a fine choreographic presentation set to Adi Shankaracharya’s Ganga Strotram, “Adi Sureshwari Bhagawati Gange”, tracing the river Ganga’s history, referring to King Bhagirath, its flow from the source through the plains and its contribution to the land and people. This otherwise commonplace theme saw some good dancing by competent dancers concluding with the purified Ganga flowing happily. Vaidyanathan was awarded the Golden Ghungroo Award on the occasion.
Bucolic charm
A spectacular Yakshagana production “Mohini Bhasmasura” by the renowned Kuchipudi Bhagavathar and Ustad Bismillah Khan Puraskar recipient Dr. Chinta Ravi Bala Krishna and his troupe from Kuchipudi Village, Andhra Pradesh, evoked enthusiastic response. After the invocation, “Durga Stuti”, in a true Yakshagana style, Narada as “hanumanayak”, the jester, descended on the stage, wittily introduced the characters and initiated the mythological tale. Armed with a boon from Shiva to be indestructible and reduce anything he touches into ashes, Bhasmasura becomes a tyrant, and even scares Shiva. Vishnu confronts him appearing in the guise of the divine beauty Mohini who brings about the demon’s self-destruction.
The production retained the identity of the tradition and kept its rustic simplicity intact. Bala Krishna is a very powerful and striking dancer. As Bhasmasura, every move and gesture, adorned with impactful footwork and jumps, registered his expressions of anger, delight, love and disgust with equal ease. Subarnasree, a fine dancer, was articulate as Mohini especially while enticing Bhasmasura set to the song “Agomali”. The supporting dancers in different roles, the dazzling costumes and Suryanarayan’s music, contributed sufficiently to preserve the ambience of Yakshagana. But the sequence of Bhasmasura being reduced to ashes should have been prominent. Bala Krishna was bestowed with the Naataysri Award.
The third evening saw the acclaimed Seriakella Chhau Guru Sashadhar Acharya and his group with his star production ‘Raatri’ after the invocatory ‘Jatraghat’ and ‘Aarti’. Based on Raatrisukta set to ragas Yaman and Marubihag, the deep involvement of Raatri (night) with the moon was displayed marvellously by the tall strapping Sashadhar clad in black, shimmering with sequins, with his brother Sukanta as moon. The long graceful strides, the stylised subtle moves of both the dancers blended in harmonious partnership with the overall melody of the rhythmic syllables of 12 matra on the dhol, naagada and shehnai. Raag Jogiya based Radha-Krishna explored the surrender of the jeevatma to paramatma through the interesting incident of Radha wanting to play the flute. Finally Krishna runs away with the flute! Bina Chowdhury as Radha and Govinda Mahato as Krishna were convincing. Visually beautiful with appropriate light effects, Sukanta gave an excellent account of himself with artistic jerks of the lower torso with the bols “dhinta drita.” in “Mayura”set to raga Megh with Basant at the end.
Amongst great applause entered Odissi dancer Dona Ganguly to receive the Vysakhi Excellence award.
With her group of Diksha Manjari, she began with Ardhanareshwara, originally composed by Guru Kelucharan Mohapatra as a solo. Over the years, dancers have re-choreographed the piece for their convenience. In this item, the duet by Dona and Raghunath left an imprint with the competent troupe offering adequate support. Equally arresting was the well-rehearsed Bageshri Pallavi by the group. The item that stole the show was “Durga Avatar Mahisasura Mardini” choreographed with recognisable Odissi patterns, formations and movements set to the hymn “Jata Juta Samayuktam” describing the attributes of the Mother Goddess.
