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 Dazzling duo presents Kuchipudi at the NCPA Umang festival - Sumana Sachidananda e-mail: sumanas29@gmail.com Photos courtesy: NCPA July 5, 2024 The Kuchipudi recital on June 27 for NCPA's Umang Festival in Mumbai, by the disciples of Guru Vanashree Rao, Washim Mahadev Raja and Moutushi Majumder, was outstanding. Sprightly, sensuous, nimble- footed and expressive, it had all the elements of traditional Kuchipudi. A dance form that had earlier been considered coquettish by the average Rasika and non- Kuchipudi classical dancer, has evolved at an unimaginable pace in the last few years. I remember dragging my parents along to watch Sreelakshmi Govardhanan who presented a spellbinding performance at the very same NCPA a few years back. After the performance, they had exclaimed that this was so much better than the Kuchipudi they had seen in the 80s! Refined and graceful with no exaggerated mannerisms, yet retaining the individuality of Kuchipudi. On similar lines, what I watched that day was truly enthralling and held the audience attention from start to end.  Washim Raja Washim Raja, who has been gifted the moniker 'Mahadeva' by SNA Chairman Sandhya Purecha, made a dashing entry on stage in the Kalinga Nartana Tillana. A Tillana made famous by the legendary Aruna Sairam with its breathless and tongue twisting lines, has become a hot favourite in recent times. It's difficult to sing it, let alone dance it. One has to do complete justice to the complex rhythmic patterns, the heavy lyrics and the underlying bhakti bhaava towards Krishna, in this piece. A mammoth task indeed. Washim effortlessly transformed into Krishna from Kalinga and vice-versa in the blink of an eye. His athleticism and agility shone through the piece. The slithering, crawling, hissing and attacking movements of the serpent were performed with elan. The genius of Oothukkadu Venkata Kavi is such that he managed to incorporate sounds and syllables to suit the characters of this ultimate face-off. Mandasssssmita is about Krishna but is sung with the hissing sound ssss! This particular moment was portrayed brilliantly by Washim. The sharp and naughty glances of the child Krishna, who thoroughly enjoys taming Kalinga and dancing on his head, were executed masterfully by Washim. Just as Kalinga Nartana was child's play for Lord Krishna, performing this difficult piece seemed to be a cakewalk for Washim Raja. Totally fluid and effortless.  Moutushi Majumder The second piece, a Jayadeva ashtapadi "Tava virahe Keshava" was performed by Moutushi Majumder. Decked in a gorgeous red and orange costume, with sparkling jewellery, she looked like a Devi herself. Forlorn Radha, has become emaciated, as she has given up eating in her longing for Krishna. There is a popular thumri - Baaju band khul khul jaaye - on similar lines, where it describes the armlet falling off because the heroine has become so thin in her pining for her lover. Moutushi brought alive the viraha tormenting Radha, beautifully. Radha likens the Chandana paste to poison, finds Cupid's arrows blazing in her heart and turns pale waiting for her beloved Krishna. The pauses expressing the agony of Radha could have been prolonged. It would have been more impactful in conveying the rasa of viraha, which is deep and painful. It is rather challenging to evoke this rasa, and Moutushi's attempt was earnest. Her concluding pose with one palm on her cheek, expressing utter desperation was a poignant visual.  Washim Raja and Moutushi Majumder The third piece Ardhanaareeshwara, performed as a duet, was vibrant and innovative. With verses from Adi Shankara's Ardhanareeshwara stotra and the Shiva Purana, this piece brought alive the duality of Shiva and Shakti. Washim was powerful and masculine in his depiction of Shiva, the heartbroken lover of Sati, while Moutushi excelled as the divine Devi. One particular verse stood out. Bhavam Bhavani Shivam Shivani Mridam Mridani Param Purani Describing the Shiva - Shakti duality, this was presented with fantastic, fast- paced energetic movements. Washim and Moutushi could have highlighted Bhavam and Bhavani, Shivam and Shivani, so on respectively...as Purusha and Prakruti, the Lord and his consort. Every word is so meaningful, and it would have created a stunning visual with these two charming dancers. The last piece Tillana was a fitting finale to the evening. The two dancers displayed their technical prowess in this crisp, lively number. Kudos and pranams to Guru Vanashree Rao for grooming these two talented dancers and presenting a fabulous evening of Kuchipudi.  Sumana Sachidananda is a Kathak dancer based in Mumbai. She is an MBA from ISB Hyderabad, and has also trained in Carnatic music. She holds a Senior Diploma in Kathak from Bharatiya Vidya Bhavan and is a DD graded artist. |
