In the prevailing calm after tumultuous devastation was a thanksgiving performance, as homage to Swati Thirunal, through a group performance conceived by Priya Murle, comprising students of Bharatalaya and Sree Shilambam. Priya gave up the coveted solo slot at the Brahma Gana Sabha for a group endeavour.
In a tightly knit programme, right from the first piece, ‘Parvati Nayaka’ in Bowli, set to adi talam, the team showed a special ability to communicate through movement phrasesthe episodes of Ganga Jatadhara, Garula Kantha and Manmatha Dahana. The nritta content in the jatiswaram (Thodi, adi,) radiated immense energy in formations and footwork.
Priya’s group ideas touched a high in the Chattur Sloka Malika, starting from Kalyani and moving on to Mohanam, Saranga and Sankarabharanam, set to Rupaka talam.
There was nothing predictable in the group formations, with dancers peeling off from a line and getting back to it in different ways, with an overdose of symmetry carefully avoided. The performance space radiated vibrancy filled with interesting geometrical patterns, movement vocabulary and traditional teermanams, in the characteristic Kittappa Pillai style. Sashirekha Balasubramaniam’s nattuvangam and evocative mridangam play by Aniruddha added verve to the presentation. With Sruti Sagar (flute) and Kalaiarasan (violin), the melodic support left little wanting.
The story of Parikshit, the gopis bathing in the Yamuna with Krishna hiding their garments to teach them a lesson in shedding the ego, the Gajendra moksham episode and young Krishna establishing his supremacy on serpent Kalinga were narrated deftly and concisely. Appearing in fleeting solo segments was Priya, the calm and inner stillness of her uncluttered and definitive expressions, a counter-point to the high-voltage energy of the young group. The best part of her was seen in the Behag song, portraying sakhya bhakti, in a depiction of Kuchela.
Nandini Anand’s melodious singing particularly in the ‘Pannagasayana’ line along with Priya’s interpretation, which visualised Kuchela without ever making him an abject figure robbed of dignity, despite grinding poverty, provided some of the most stirring moments.
In a very different mood was the Raslila ‘Aaja Laye…’ in misra chapu, shown as a mini dandiya item with kolaattam, while the concluding ‘Bhujanga Sayanam’ as the Mangalam, communicated the final message of hope after the tragedy — of new life springing up.
