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 Sparkling solos by Chithkala School of Dance - Satish Suri e-mail:satishism@yahoo.co.in Photos: Prof.K.S.Krishnamurthy July 27, 2023 Poorna Hariharan and Navyashree KN, senior disciples of Praveen Kumar, presented solo Bharatanatyam performances a week apart at Seva Sadan in Bangalore, establishing their credentials as dancers of high calibre.  Poorna Hariharan Poorna Hariharan commenced her performance on June 30 with a rendition of 'Kali Kauthvam'. In this piece, she portrayed the powerful and awe-inspiring form of Goddess Kali, who dances to the celestial music played by the gods themselves. Even the great sage Patanjali and other revered sages were present, witnessing the magnificent and dynamic expression of Nature, which encompasses both sublime and furious aspects. Poorna's portrayal of Goddess Kali was filled with energy, vigour and vitality. Her movements captured the essence of the divine dance, bringing forth the raw power and grace of the deity. The central piece of the performance was the varnam "Roopamu Joochi" in the raga Todi. In this piece, the Nayika directly addresses Lord Tyagarajaswamy. She expresses being captivated by the divine form of the Lord and declares her love for him. With a heart full of love, she seeks his protection, acknowledging him as the guardian of all beings. The Nayika earnestly pleads for his shelter, hoping to be shielded from the torment of the arrows of Manmatha, the god of love. Choreographed by Praveen Kumar, who skillfully crafted the emotional landscape of the dance, the performance was a showcase of captivating movements, flawless technique, and meticulous attention to detail, elevating the storyline to new heights. Throughout the performance, the dancer delivered an energetic response, immersing herself in the character of the Nayika bringing forth the essence of her emotions. The choreography, combined with the artiste's skills, created a narrative that resonated with the audience. What added further uniqueness to the performance was the innovative texturing of the music. Well-timed pauses and nuances in the musical composition created moments of stillness and reflection, allowing the dancer to make a profound impact on the audience. These creative choices brought visual individuality to the dance making it a memorable and enchanting experience. The ashtapadi "Naatha Hare" in raga Charukesi delved into the poignant theme of Radha's agony of separation from Lord Krishna, as narrated by her Sakhi. The various emotions and sentiments experienced by Radha in her moments of despair and longing were precise and crisp, allowing the nuances of the composition to come alive on stage. The graceful movements and expressive gestures showcased the depth of Radha's emotions and the lyrical beauty of the composition. Poorna presented a Javali titled "Smarasundaranguni" in raga Paras. The Javali explores the character of a proud heroine who joyfully proclaims the uniqueness of her beloved Lord. Filled with pride, she describes him as incredibly handsome and one-of-kind, emphasizing how he fulfils every desire and is always attentive to her needs and wishes. The dancer's interpretation was a lively and spirited exploration of the character's emotions. Poorna concluded her performance with a sprightly Thillana in raga Simhendramadhyam authored by Madurai.N. Krishnan dedicated to Lord Muruga. Filled with energy, grace and precision, the dancer captured the joyful and celebratory spirit of the composition. Indeed, the auditory experience of the Bharatanatyam performance was equally enchanting, thanks to the talented music ensemble led by Eswar Iyer on the vocals. Harsha Samaga's skilful mridangam playing added rhythmic depth and complexity to the performance. Praveen Kumar's nattuvangam guided the dancer through the various rhythmic patterns and sequences. His expertise in nattuvangam ensured seamless coordination between the dancer's movements and the music, adding coherence and precision to the performance. Mandya Nagaraj's violin playing added a melodic and emotive dimension to the auditory experience. Shashank Jodidar's flute playing brought an ethereal and soulful quality to the music ensemble.  Navyashree On July 6, Navyashree K.N. commenced her Bharatanatyam performance with an Alarippu. Following the invocatory piece, Navyashree paid spiritual reverence through a Dhyana Shloka to the Goddess Lalita, who is hailed for her unparalleled power, resplendent glory, beauty, and boundless benevolence towards her devotees. Navyashree's rendition of the Dhyana Shloka through her expressive movements and gestures was powerful and evocative, depicting the awe and reverence of the deity. The performance was an amalgamation of devotion, artistry, and soulful expression. In the Varnam in raga Kambhoji titled "Nathanai azhaithu vaa Sakhiye," the Nayika, beseeches her Sakhi to bring Lord Muruga to her. She describes Lord Muruga as handsome and virtuous, with numerous accomplishments, highlighting how he even taught his father, Lord Shiva. Despite his greatness, the Nayika wonders if his heart is made of stone, as she yearns for his love and understanding of her anguish. With delicate artistry. the dancer's movements resonated perfectly with the music, creating a seamless harmony. Her resplendent costume and stage presence accentuated the grace and elegance of her movements enhancing the overall visual appeal of her performance. The choreography of her guru Praveen Kumar played a pivotal role in creating a mesmerising and enriching experience. His innovative handling of the intricate jathis, synergised seamlessly with the musical phrases, enhancing the rhythmic and melodic beauty of the dance. The choreography not only showcased Navyashree's technical skills but also provided a platform for her to express her emotions and storytelling talent through dance. In the ashtapadi "Naatha Hare Jagannatha Hare," Navyashree brought to life the poignant tale of Radhas's anguish and separation from Lord Krishna. The Sakhi, in her attempt to alleviate Radha's suffering, approaches Krishna and describes the state of her friend, pleading with him to release her from this despair. Navyashree's elaboration of the narrative was a testament to her artistry and skill. Her captivating expressions and emotional depth allowed her to embody the essence of Radhas's sorrow and longing and the Sakhi's plea to Krishna was executed with aplomb. In the composition "Kadugola Tarena Chinnave" by Purandaradasa, Navyashree brought to life the playful and endearing relationship between Lord Krishna and Yashoda. The piece revolves around a charming incident where Krishna mischievously takes away the butter churning stick from Yashoda, refusing to return it. Despite Yashoda's attempts to coax him with promises of butter, Krishna playfully continues to keep the stick, adding an element of delightful humour to the narrative. Navyashree's lively exposition beautifully captured the mood of the playful interaction between Krishna and Yashoda bringing forth the mischievous nature of Krishna and the affectionate determination of Yashoda. The playful and joyous nature of "Kadugola Tarena Chinnave" added a refreshing contrast to the emotionally charged pieces that came before. Navyashree's ability to effortlessly switch between different moods and emotions showcased her versatility as a dancer. The performance culminated with a Thillana in raga Valachi, a composition of Dwaraki Krishnaswamy. Nayvashree's execution was spirited and brisk displaying her mastery over the intricate footwork and rhythmic patterns. Her ability to balance precision with artistic expression made the Thillana a fitting finale. The music ensemble led by D.S. Srivatsa on vocals, Praveen Kumar on nattuvangam, Harsha Samaga on mridangam, and Shashank Jodidar on flute played a vital role in enhancing the overall impact of Navyashree's performance. The seamless coordination between the dance and the live music added depth, richness and a sense of dynamism to the entire recital.  Bangalore based Satish Suri is an avid dance rasika besides being a life member of the Music and Arts Society. |
