The Parampara series, an annual dance festival by Raja and Radha Reddy’s Natya Tarangini, opened this year with ‘Bharateeyam’ dedicated to tradition and culture of India. Guru Raja Reddy’s opening remarks aptly summed up the festive spirit of this three-day dance celebration.
Natya Tarangini’s own presentation, ‘Mahanatam’, the cosmic dance of lord Nataraja in typical Kuchipudi dance drama style (pravesha daravu, gathi, karana, chari et al), set to pre-recorded music, was like a revelation of the creation of universe through dance. The group of nine ebullient dancers displayed the essential footwork of Kuchipudi even as they introduced lord Shiva’s (Nataraja) arrival on stage with aadenamma Shivudu Harudu... The digital screen backdrop provided the props (Shiva symbols of trindent, damaru, etc) to enhance the dramatic effect. The strong footwork patterns adhered to precise tala and were presented in all the three cycles of speed (trikala), which is strictly in keeping with the classicality of the art form. Despite the changing pace (gathi) of dance, none of the dancers slackened in speed or clarity in delineation of mudras which is a common lapse in many cases. The chari bhava (emotional expression while in motion) and the karana (statuesque postures) were evident in every move as they dance in absolute sync.
Guru Raja Reddy enters — on to a long pedestal placed close to the backdrop of the stage — as the group ushers lord Shiva through song and dance. Though the veteran is no longer his old, invigorating, zesty self, he was composed and dynamic in his stances set to mild footwork. His demeanour as he danced displayed a sort of worship to the dance form which is believed to be the rhythm on which the universe ticks. As if to compensate this, the group dances with excellent jatis with Patanjali Maharishi’s Charana shrunga rahita Nataraja stotram. While lord Shiva’s dance, the tandava, represents the male principle, his counterpart Shakti/Prakriti stands for the lasya or female; together they form the creation in all its aspects. This was articulated beautifully by Radha Reddy who seemed in good form as she danced to the three speed cycles with feminine charm.
The creation comprising fauna and flora was brilliantly displayed by the group of dancers entering by threes or fours, to spirited dance of the peacock, elephant and snake — all the time maintaining the mood and rhythm of the characters they portrayed in quick succession. While the peacock dancers were graceful and frisky, those who took up the elephant spoke the language of dignity and strength through their body kinetics. At every juncture the tandava and lasya were distinctly represented; the finale was merger of both the universal energies –this was brought out skilfully through solfa syllabic utterances followed by percussion to the same executed through superb footwork and mime. The muktayi (ending through diminishing syllable mode) was an aesthetic wrap up complimenting the title of the ballet. Whatever the modifications Raja Reddy inserted into the Kuchipudi style seems so unobtrusive that the grammar and syntax of the original is in no way dented; on the other hand it only enhanced the otherwise rigorous manly dance form with femininity and grace that is enriching. The costumes and overall make up further enhanced the physical looks of the dancers giving a divine dimension to the entire show staged at Kamani auditorium, New Delhi.
