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 6th Navvarsh Mahotsav 2022 - Shashank Kiron Nair e-mail: shashank.k.nair@gmail.com Photos: Harshavardhan K April 15, 2022 The 6th Navvarsh Mahotsav organized by the Saraswathi Educational, Cultural and Charitable Trust featuring some of the biggest names in their respective art forms brought onto one stage, was a real treat for the connoisseurs.  Bharati Shivaji & Vinaya Narayan After the inaugural ceremony, day one started with a Mohiniattam recital by Bharati Shivaji and her disciple Vinaya Narayan. The contribution of Bharati Shivaji, enlivening the Mohiniattam repertoire and expanding the parameters of its technique at the behest of the then chairperson of Central Sangeet Natak Akademi - Kamala Devi Chattopadhyay - is certainly remarkable. Bharati commenced her recital with 'Balaganapathy', an invocatory piece set to raag Saurashtram and Nilambari in Talamalika. The piece depicted the story of Lord Shiva and Goddess Parvati taking the form of elephants and giving birth to Lord Ganesha. This was followed by invoking the blessings of Devi Saraswathi or Vani Bhagavathy - the goddess of Art. Bharati's work to restructure the music of Mohiniattam in the Sopanam tradition (the regional music of Kerala) under the guidance of Kavalam Narayana Paniker without the influence of the Carnatic tradition enhanced the art form's originality. This was followed by 'Mukhachalam,' a nritta piece composed by Kavalam Narayana Paniker in ragam Nattai set to the indigenous talas of the Kerala Sopanam system. The piece envisaged as a circumambulation around the temple is an introduction of sorts to the vocabulary of Mohiniattam movements. The beautiful circular movements adapted from Kalarippayattu during the rendition of the vaittari "Dhit dhit dhit dhit...tai ta dhi tam tom" modified to suit the feminine grace catches one's attention and brings forth the majesty of Mohiniattam. Vinaya Narayan presented this piece choreographed by Bharati Shivaji articulating the swaying, circular and semi-circular movements developed from the meivazhakam and the chaudasadam (circular patterned exercises evolved by Bharati). The padam "Endu Mama", a composition of Swathi Thirunal in ragam Kalyani set to adi tala performed by Bharati portrays an array of emotions, magnificently brought out through her subtle abhinaya. The nayika first raged at her Lord Padmanabha suspecting him of being promiscuous with other women and finally surrendering to him was the piece de resistance of the evening. Bharati continued the program with the popular Jayadeva ashtapadi "Dheera sameere" in ragamalika, adi tala rendered in the Sopanam style with the Guru playing the pivotal role of the Sakhi requesting Radha, essayed by Vinaya, to let go of her pride and surrender to Lord Krishna. Vinaya Narayan concluded the recital with 'Saptha Jiva' based on the indigenous tala patterns of Kerala. The piece, which gradually increased in tempo to reach a crescendo and then slowed back down, is meant to symbolize the seven layers of the body, the chakras. Bharati Shivaji was honoureed with the title 'Lasya Mohini' by the Saraswathi Trust for her immense contribution in the field of Mohiniattam.  Mithun Shyam The next segment for the evening was a solo thematic Bharatanatyam production 'Purushantargatah' by Mithun Shyam. Beginning with the "Purusha Suktha", the production dealt with the theme of gender fluidity. The production showcases our country as a land of diverse, liberal and broad-minded ideologies, where varied human lifestyles were accepted apart from being well documented. The classical idiom and puranic evidences of fluidity of gender were utilized in this choreography to elaborate on the ideology that masculine (Purusha) and feminine (Prakriti) are innate in every being. The concepts of cross-dressing, same gender love and fluidity in gender roles were closely portrayed in this artistic work. Elegant costuming, enchanting music by Praveen D Rao, vibrant dancing, striking stage presence, firm body control gained from years of practice coupled with his soulful abhinaya especially while executing a sequence portraying child birth defined Mithun's performance that evening. 'Purushantargatah' proves the relevance and importance of Indian arts and culture in the context of the modern 21st century. After the successful opening day, the Mahotsav moved on to day two starting with a production conceived and choreographed by Prabal Gupta bringing together Kathakali and Modern theatre. This production was commissioned by the South Zone Cultural Centre, Ministry of Culture, Govt of India.  Prabal Gupta with TOYO 'Kshatraa Baalaa' is a tribute to those great women of our country who have lost their soldier husbands - the martyrs of our nation. Penned in Sanskrit by Arjun Bharadwaj with the music composed by Sadanam Jyothish Babu, the production opens with a newly married woman disappointed with her handsome husband, "Raag purno malkantah Kamadeva swaroopaha...", leaving her on their nuptial night having been summoned to the war front, "nirjivasmi ten bina". She however reminisces the beautiful moments spent with him presented to a soulful rendition in raga Brindavani Saranga and chempada tala, bringing forth the kindle of the first love. Prabal Gupta has done an exemplary job of creating a new set of movements in Kathakali to bring forth the sweet moments of love between the newly married couple. Though upset at the departure of her husband, the young lady consoles herself thinking that her valiant husband must have subjugated the enemies and would return home in no time. All of a sudden, her right eye starts twitching signifying band omen. As she goes to see if her husband has arrived, she is stupefied to see his dead body being brought towards her. Prabal's heart wrenching abhinaya to bring forth the agony of the young woman learning about her husband's death with the soulful rendition in Revathi by Jyothish Babu was moving. The woman on the verge of taking her own life instead decides to dedicate her life for the cause of the nation. Thus is the significance of the 'Kshatraa Baalaa.' A beautiful composition eulogizing Bharata Desha "Kshatraa Parvata rakshitam..." followed with Vande Mataram in raga Desh paying benediction to the motherland was presented with finesse and dignity. Prabal's movements were supple and mellifluous. His body, always in tenacious control, and his thorough understanding of the literature is projected thorough a deliberately studied abhinaya. He was accompanied by the artistes of the TOYO (Theatre On Your Own) company. With Sadanam Ramakrishnan's dexterous edakka and Sadanam Devadasan's maddalam, the production was an impressive work of art.  Shovana Narayan The next segment was a Kathak recital by Dr. Shovana Narayan who began her performance with a Vishnu Vandana and a nritta paddhathi teyyari in teentaal. Her flawless execution of the intricate footwork exhibits firm grip on the dance form she specializes in. One must commend her splendid ekaharya abhinaya in 'Draupadi cheer haran' accompanied by instrumental music. Her concluding piece narrating the story of Gauthama Buddha through the eyes of his wife Yashodara performed with complete involvement touched the hearts of the aficionados.  Anuradha Vikranth  Drishti Dance Ensemble The final segment was a Bharatanatyam recital by Anuradha Vikranth and the Drishti Dance Ensemble. They began with a krithi dedicated to Bharatha Muni and his Natya Shastra "Paravasha koduvudu Bharata kale" set to Ragamalika, adi tala, composed by K.S. Venkataramanan. Anuradha then presented the Varnam in praise of the compassionate, supreme Lord Shiva in raga Shankarabharanam, adi tala. Her crisp nritta, precise teermanams and kudditas garnished with graceful karanas and sterling abhinaya was highly commendable. The ensemble concluded their recital with a popular Kannada devaranama in raga Sindhubhairavi, a beautiful composition of Sri Purandaradasa recapitulating how art connects one to the divine and leads them to mukti or salvation: "Thamboori meetidava bhavabdhi dhaatidava." It was a felicitous finale to the 6th Navvarsh Mahotsav celebrating the arts and artists.  Shashank Kiron Nair is a Bharatanatyam dancer, Carnatic vocalist and student of Architecture at BMS College of Architecture. He is a recipient of the Kalashree Prashasti 2017-18 and Karnataka Sangeetha Nritya Academy scholarship 2021-22. |
