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 Penchant for patriotism - Ranee Kumar e-mail: Ranee@journalist.com Photos: One Frame Story August 23, 2024 Aptly titled Saare Jahan Se Accha, guru Ranjana Gauhar's annual two-day fest was arrayed with a string of performances from varied genre - Odissi, Bharatanatyam, Manipuri and Kathak. Each had its distinct flavour, so to say, and makes for a delectable spread.  Ksheerasagara Day one was home production with Utsav repertory (Ranjana's dance academy). For a change, Ksheerasagara didn't dwell on the hackneyed mythology of Deva-Asura conflict in churning the Ocean of nectar, the Mohini and then the evolution of the ten avatars and so on. The choreographer / guru was creative and unique in restricting the presentation to the episodic narrative of just Matysa avatar which is actually the main and relevant story to be unveiled, the genesis of Ksheerasagara. However, it had a prelude in Chandrabhaga episode which has been culled out of Orissa folklore, a localized romantic myth of Konark (Sun temple). Vrinda Chadha as Chandrabhaga enacted her role with aplomb; of special mention were the bath ritual at the river (personified by four girl dancers) bank where the details of a bath in the flowing waters was picturized by dance and not by mime - which stood out as a unique piece of artistry. The emergence of deities of love - Rati and Kamdev - at the backdrop, aiming their arrows at Surya (Sun god), essayed by Kevin Bacchan who instantaneously succumbs to the intoxication of love for Chandrabhaga was also impressive. The interlude of romance and rejection was swift and a bit perplexing for the audience to draw a rational conclusion.  Kevin Bacchan and group Ksheerasagara that followed on the heels of Chandrabhaga opened to the melodic chants of Om Narayana, Matsya Narayana wherein the group of dancers split into twos and fours extolling and emulating the evolution in the form of fish, the first avatar of Narayana. Then came the story that actually led to the emergence of Matsya avatar. The scenes gently guided us to the Brahma Lok where the creator is agitated with the demon (Chhau dancer) who snatches away the Vedas from Brahma's abode. Obviously, the Vedas are hidden in the recesses of the mighty ocean, near impossible for anyone to locate, leave alone retrieve. Raja Satyavrat (Kevin) is found offering ablutions to the Sun when a tiny fish drops into his open palms. The fish transforms into a girl sending us all into a state of curiosity about what would happen next. Well, then Vishnu (Vrinda) manifests to the Raja and offers to retrieve the lost Vedas. The structure of Pallavi was slipped in subtly in the intermittent glide in and out by the group dancers. Such creative inputs always give a cutting edge to the narrative. The vigour of Chhau suited the demonic character while the others stayed with Odissi. Pralaya payodhara refrain was a fitting finale.  Odissi ensemble The last day had all four dance forms with Odissi taking the lead once again. This time a Vande Mataram group dynamics followed the Raas which was replete with bhol to which Kevin gave a powerful performance. His energetic nritta was commendable. Vrinda as Krishna fell short of stature and looked a bit too feminine. The Radha-Krishna romance (Raas) was aesthetic to say the least.  Bharatanatyam by Sandhya Purecha's disciples The Bharatanatyam mounted by the disciples of Dr Sandhya Purecha (SNA chairman) was awesome. There was a pattern to the pieces presented which made for well-deserved applause. The inherently rhythmic 'Bho Shambo...' in Revati was a wonderful way to begin. Interlacing the dance, the foursome gave a brief into the various Tandava of lord Shiva beginning with Ananda Tandava, Teipura, Kalika, Gowri, Sandhya, Samhara and Uma Tandava striking statuesque postures. The alluring costumes in green embellished the thematic presentations. The Bhoomi Mangalam, an invocation to the elements of Nature was exquisite, executed with verve and vigour. If ever an Abhang excelled in Bharatanatyam, this was the one. Though a far cry from this genre, the dancers did full justice to the bhakti element and emotion within the Bharatanatyam template. The Vande Mataram song began with gyrations which seemed a bit odd but picked up steam and went full-fledged to be titled as a piece of artistic excellence.  Manipuri Vasant Raas Manipuri duo, with their billowing skirts were like live dolls on the dance floor. Graceful and gentle, they moved in tandem to the music and song for Vasant Raas. A cute Krishna was seen skipping and hopping between these two gopis. The drum and daffli acrobatics brought out the tribal element to the fore which is the essence of Manipuri. Adroit moves, jumps and amazing flexibility are hallmarks of this form by guru Shyam Singh's group of artistes.  Kesariya by Kathak ensemble Last but not the least came Kesariya by Kathak ensemble led by Sangita Chatterjee. The concept and execution were great relating the tri-colour to the three essential ingredients of dance, namely, taal, bhaav and raag. The twirling movements, a la flag in hoist was beautifully showcased. The ending quote of Rabindranath Tagore's 'where the mind is without fear and head is held high...' was a bit ironic since we were still in a state of shock at the horrendous news of the Kolkata lady doctor. Earlier, founder guru of Utsav Educational & Cultural Society, Ranjana Gauhar felicitated veteran dancers Aloka Paniker (Odissi), Geetanjali Lal (Kathak), Asha Kamal Modi (designer-jewellery, textiles) and Dr. Uma Rele (Nalanda principal) with the Utsav Samman. The festival was put up at Delhi's Habitat Centre.  Ranee Kumar is a journalist who brings in three decades of hard core journalistic experience with mainstream papers like the Indian Express and The Hindu to arts reporting. Her novel 'Song of Silence' and guest editing of attenDance widen her horizon. |
