A cultural melange

Enthralling performances of music, dance and drama marked Natyasamgraha’s dance festival.

A Bharatanatyam recital

Natyasamgraha presented its ambitious multi-layered cultural show — a confluence of music, dance and drama, something different from the usual at Shilparamam Amphi Theatre, Madhapur..

The first event was a fusion music show led by well known violinists Kolanka brothers — Anil and Sai. The other lead instrument was flute, played by Venkateswarlu and veena by Sudhakar. The percussion group was comprised of Renuka Prasad on mridangam, Sridharacharya on kanjira and Pawan Kumar on tabla.

The show began with Mallari, a traditional tune in Gambhiranata. The second raga they chose was Lalitha that sounds good on flute. The third number was Keeravani bringing into focus violinists, the others joining them. The most thrilling part was the kind of tani avartanam the percussionists presented at the end of each of the tunes presented in chosen ragas. It was an exhilarating show.

Chennai-based Bharatanatyam artistes took stage later and presented just four numbers, choreographed by Guru Anitha Guha known for choreographing group presentations. The nine-member artistes’ group comprised Medha, Satvika Shankar, Satvika Rajamani, Nivedita, Lakshita, Smruthi, Monaja, Priyanka and Jyotsna, all from Chennai. The Misra alarippu fused with Tiruppugazh in ragam Jaganmohini that they began with, took the audience into grip. This was choreographed with a novel approach of Mayura hasthas replacing Tripataka hastas to signify a peacock, mount of Lord Muruga. It was a well chiselled group show. Then figured ‘Ardha Nareeswara’ dance, a curious presentation for its scientific synthesis of masculine and feminine energies, right in creation. Here it is Shakti, the goddess showed as powerful as Lord Siva. The presentation part was unique, never seen in recent times. This followed ancient tradition of presenting two girls one behind the other — as if almost glued, symbolic of Siva and Parvati - one swinging right hand and the other left, with synchronised footwork, circumventing modern Aradhanareeswara with full make up of a single artiste made up to look like ‘Ardhanareswara’ with half moustache and a cloth separating the man from woman. This was one number that was loudly applauded for its creative appeal.

The Tamil number

Udhu Madhu Kalitran in Saveri ragam was presented by this nine-member team, a Pasuram from Andal’s ‘Thiruppavai’. Krishna and Andal, with Gopikas play a ball game one throwing it to another. There was no ball as such but the dancers’ mime made us feel there was one. The winner in this game was Andal, not Krishna, for a change. This was a brilliantly executed piece.

Next was a composition of Annamacharya – Kattedura in Hindolam describing the Seven Tirumala Hills, said to be representative of the seven hooded snake, Adisesha. This was packed with varied Jatis well gone through. The show closed with a tarana, equivalent to tillana with an Abhang, blended with raag Jonpuri. This was in praise of Hanuman. The final showpiece was Yakshagana ‘Chenchu Lakshmi’ staged by Chindu Bhagavatulu hailing from Warangal. The team was led by Shyam. It narrated the story post annihilation of Hiranyakasipu by Vishnu appearing in the incarnation of lion-faced Narasimha who later moved into forests where he gets enchanted by Chenchulakshmi, who tries to calm him down. Goddess Lakshi, Vishnu’s consort, comes down. The play ends with Vishnu declaring Chenchulakshmi is another form of Lakshmi. Men played female roles, adhering to the tradition.

On the following day Natyasamgraha felicitated noted Bharatanatyam artiste and guru Padma Bhushan awaredee C.V. Chandrasekhar with Lifetime Achievement Award. There were ‘Kathak’ and ‘Mayurbhanj Chahu’ shows too.