As the name suggested, it was an evening apportioned for dance, Kuchipudi and Odissi, hosted by Powai Fine Arts (PFA) at the Nahar International School Auditorium, Chandivili.
‘Deho Devalaya’ in Revathy was the opening number, in which Vyjayanthi Kashi highlighted special aspects of dance, angika and vachika. She juxtaposed the tandava and lasya movements. The description of Saraswati and the incorporation of the traditional Nataraja Kavuthuvam, added interesting dimensions to the piece.
Vyjayanthi Kashi
Poothana Pravesha was comprehensive with nritta, nrithya and natya aspects. The prelude music set the perfect mood. Executing fast jatis, Vyjayanthi got into the character of Poothana, with her shrieking sounds and scheming eyes. The act of decking up as a graceful damsel, her back turned to the audience, was accentuated by slow jatis. The death of the demon was dramatic with the dancer holding to the wings, shaking them in the process.
The Tarangam, penned by Narayana Tirtha in Sanskrit, addressed Hari, in his Yoga Nidra, as the Akhilanda Koti Palaka and touched upon the slaying of Bakasura, Aghasura and Madhu Kaitaba.
Brass plate, Kashi said “was the symbol of karma and every dancer is a yogi not disturbed by any worldly distraction.” Dancing all around the stage with fast, unfaltering, rhythmic movements, Kashi was a picture perfect balance; quite often coming too close to the edge, while the audience held their breath for her safety.
Information about Kuchipudi tradition of male dancers and the customary dedication of one male child to dance was shared by the artiste, in the interludes.
Suman Badami, from PFA committee felicitated Kashi and praised her for her exquisite performance, especially her abhinaya.
Odissi ensemble
The second segment of the evening was a Odissi performance by Daksha Mashruwala and her disciples.
In the opening Navagraha number, they presented a brief on Navagraha, highlighting the aspects of the planets. Showing a sacred thread to depict Guru, Sukra as sarva sastram and fire for Saturn etc., they created beautiful, geometric visuals.
Daksha Mashruwala and her disciples presenting odissi recital
The pallavi was an aesthetic journey from slow to complex. The movements in straight line was well-conceived.
The original choreography by Kelucharan Mohapatra, was immaculately executed by the seasoned guru and her well-trained disciples. The melody of the raga was brought out in dulcet sitar sounds. In an intelligent approach, one of the troupe danced while others stood in chiselled poses, each of them taking turns, thus giving a feel of the solo in a group presentation.
Explaining the influence of Ashtapadi in the 12th century bhakti movement, Daksha informed that it was compulsory for the Mahari dancers to present them in the temple.
A wise mix of the sacred and profane, the Ashtapadis are widely used as part of not only Odissi repertoire but other dance genres as well.
In ‘Kuru Yadunandana,’ Daksha brought out with sensitivity the amorous involvement of Radha, who appeals to Krishna to apply sandal paste on her bosom, darken her darting eyes with kohl, deck her tresses with flowers; it is a sensuous appeal not only for adornment but for an assurance of her love, her deep desire to become one with Krishna.
Sailaja Desai from the PFA committee praised the performance of Daksha and disciples while felicitating the artiste.
