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 Patha: A dancer's journey - Satish Suri e-mail: satishism@yahoo.co.in Pics: Krishnamurthy September 17, 2019 Sneha Narayan's solo thematic presentation explored the many facets and attributes that contribute to the growth and learning curve of a dancer, using metaphors based on the stories of Ravana, Kalidasa, Jatayu, Bharata, Rama and Krishna to emphasise the qualities of determination, humility, perseverance, letting go of ego and surrender to the Supreme that ornament a dancer's path. Calibrating her performance with well-rehearsed movements and rhythmic notations the rendition provided an insight into the creative choreography that was refreshing and innovative in its execution.The depiction showcased the eagerness of the dancer to learn Bharatanatyam, from tying the ankle bells and the earnest interest that transforms the dancer from a diffident state to one of confidence, beginning with the initial faltering steps to one that synchronises with the rhythm of the music. The learning process of hastas and mudras were effectively expressed through the Pushpanjali and Ganesha Stuthi. The compositions were drawn from several composers -Thyagaraja, Balamuralikrishna and her own mother in Sanskrit, Tamil and Kannada and the excerpts from the stories of mythology provided an ideal backdrop to her delineation marked by fine nritta, poignant abhinaya and statuesque poses. The process incorporated sancharis of the qualitative principles of surrender (Ravana praying to Shiva); the illumination of Kalidasa; the obedience of a brother (Bharatha); the struggles devoid of fear and failure (Jatayu); love for Krishna (Madurashtakam) and the final seeking of Krishna (Alai paayude Kanna). The live orchestra led by Rohit Bhat on the vocals, Mahesh Swamy on the flute, Preethi Bharadwaj on the nattuvangam, V.Gopal on the veena and Janardhan Rao on the mridangam enlivened the bhava in the compositions, that provided the artiste with enough scope to explore her versatility. The culmination of her performance was summarised in the poetic splendour of the composition penned by Sneha Narayan's mother on all the values that are needed by a dancer in her journey. 
Sneha Narayan 
Aishwarya Anant Karthik The varnam "Sakhi indha vellayil" in Anandabhairavi featured beautiful shringara aspects of the love-stricken nayika for her lord.The depiction was qualified by several aspects of the Mannargudi Temple and the glory of Rajagopala. The nayika confides in her sakhi about the pangs of separation and whether the hands of Krishna that stroked the cows will come and caress her. The artiste's rendition was characterised by subtlety and grace. Her crisp footwork and emotive expressions befitting the mood and tenor of the composition which highlighted the choreography of her Guru Sudharani Raghupathy was well appreciated by the audience. Her overall stage presence, aharya and joyful demeanour was a picture of poise and sophistication. Aishwarya followed it with a Swati Tirunal composition that speaks of the Nava Vidha Bhakti to attain salvation. She chose to explore the Sakhya Bhakti or one facet of "Kuchela Bhagyam" intriguing in its aspect of how Kuchela would have felt when he goes to meet Krishna who is now a king. The artiste related poignantly to Kuchela's anguish and perceptions. The Purandaradasa composition "Mella mellane bandhane" portrayed the many depths of emotions of the Gopi complaining to Krishna's mother about his antics and mischievous pranks that disturb her. The composition also defines the innate love for Krishna in spite of his misbehaviour, which Aishwarya conveyed with aplomb. She concluded with a Tillana in Amrithavarshini, a composition of Madurai Krishnan, executed with crisp footwork. The musical support with Jyotsna and Radhika (vocals), Dayakar (violin), Sai Vamshi (mridangam ) and Gayathri Ramanathan (nattuvangam) enhanced the rendition. Bangalore based Satish Suri is an avid dance rasika besides being a life member of the Music and Arts Society. |
