Kuchipudi recital, both solo and group, led by Vimmi Easwar and her disciples was an interesting experience for the audience in Thrissur. The two-hour performance demonstrated the elegance of the Vempati school of which Vimmi is an ardent follower. Apart from abhinaya sequences, there was an extravagance of nritta in all the numbers that enhanced the visual appeal of the entire show.
Invocation to Ganapathy, ‘Vinayaka Kauthwam’, was followed by ‘Brahmanjali’, the customary salutation to all including the gods and the audience. It was an excerpt from the Vempati repertoire in ragamalika.
‘Balagopala tarangam’, a captivating solo by Vimmi, brought to the limelight her terpsichorean prowess. She opened with the famous Sree Krishna sloka, “Kasturi tilakam lalaatapalake, vakshasthale kausthubham’, which created the right ambience for introducing the character of Lord Krishna. Verses excepted from the composition of Narayana Theertha were interpreted attractively by the danseuse. Intricate jatis, performed to perfection, was indicative of her sense of rhythm while her mudras and movements indicated her sense of proportion. Pranks of child Krishna, an essential part of this piece, were not overdone. So was also the dance on the plate, an intrinsic part of the number. A more pronounced aramandi could have enhanced the sculptural finesse of the postures.
Vimmi’s disciples took to the stage in the next two numbers that were quintessential of the guru’s choreographic acumen. Jathiswaram, anchored on Mysore Vasudevachar’s Kathanakuthoohalam composition, witnessed enchanting formations as the dancers performed in synchronised and highly energetic movements while executing the jatis. ‘Ananda nartana Ganapathim’ manifested through Oothukkadu Venkita Subbaiyer’s composition in Natta, ‘Eka dantam Vinayaka, bhayamai manasa’.
The finale, ‘Sree Krishna Tulabharam’, choreographed as a ballet, was the highlight of the entire show. Moreover, Vimmi was successful in employing her entire contingent of 15 dancers, including junior ones, in this choreography that narrated the story, beginning with the fight between Krishna and Narakasura.
All the anecdotes in the story were interspersed with dance sequences. The advent of Krishna on the stage, dancing with exuberance, with which the ballet began was impressive. Also his dance with Sathyabhama and Rukmini respectively was awesome. Performed to instrumental music, the dialogues through abhinaya were effective, though occasionally it left some spells of silence. Utilisation of space and striking a visual balance of the distribution of characters on the stage were noteworthy. The denouement with Krishna flanked by Rukmini and Sathyabhama and the entire cast paying obeisance to them elicited applause from the audience.
Vimmi’s histrionics was at its best in the portrayal of Sathyabhama. Krishna, portrayed by Chaaturya Kolapudi, on the scale with a mischievous look as tulabharam progresses and Rukmini, by Vani Sri Behara, noted for her humility and total devotion to Krishna, enacted their roles commendably.
The programme was presented by the Dubai-based Anantara Institution in association with Kerala Sangeetha Nataka Akademi.
