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 Venkateshwara's bard comes alive in dance - Jyothi Raghuram e-mail: jyothi.r.ram@gmail.com Photos: Universal Rasikaas December 9, 2024 When an alumni of Nrityakalamandiram of B Bhanumati's time takes to stage, one's memories go back to the warm, naïve, and simple person that she was, and how she integrated her personality into her teaching. Of essence is the creativity of Bhanumati too, particularly when her dancers experiment outside of the maargam. Sincerity of approach, devotion as integral to dance, focus on mukhaabhinaya rather than hastaabhinaya (which is more challenging), a genuine feel for emotions rather than imitation, intermittent use of creative friezes, group coordination, thorough groundwork on the musical aspect of a production, textual study, dignified bearing on stage starting from costuming, and experiencing dance as an offering to God more than as a performance - these were the striking features of Bhanumati's productions, particularly Bharatanjali, the troupe of senior performers of Nrityakalmandiram specialising in group presentations.  Raksha Karthik It is with a sense of nostalgia as well as hope and optimism that one notes 'Annamacharya Sankeerthana Sudha,' a dance feature by Dr. Raksha Karthik and her dancers, had all these elements. Beginning with the story behind the birth of Annamacharya, his climb to the abode of the Lord of the Seven Hills, description of some of the sevas there, his refusal to indulge in narastuthi and his subsequent imprisonment, the burning of his compositions, the re-writing of the same, and ultimately Annamacharya attaining the lotus feet of Lord Srinivasa, the feature covered the entire life of the bard of Venkateshwara, with an intelligent choice of compositions to braid the story. This was in fact as much a clincher for the success of the production as the trim choreography and the unaffected portrayal of the dancers. The communicative strength of the production was unquestionable, as was the heartfelt involvement of Raksha herself. Her troupe of dancers from Natanam, her dance school, sure did her proud, although they fell short at times in coordination and expression.  Adivo Alladivo (Madhyamavathi), when an ecstatic Annamacharya sees Lord Venkateshwara for the first time, marked the beginning of an emotional outing. Brahma kadagina (mukhari), a devotion-filled description of the Lord, Sriman Narayana (Bowli), Kondalalo (Hindolam) - inspired by the alwars and Swami Ramanuja, Dolayam (Khamas), Ksheerabdhi kanyakaku (Kurunji), Nigama nigamaanthara (Hindolam), and the concluding Daachuko (Aarbhi) and Naanaat badhuku (Revathi) among several other aptly chosen compositions captured the devotion-filled life of Annamacharya, till his realization of earthly life as mere drama. Annamacharya Sankeerthana Sudha was as much a musical; not all compositions could be dealt with in toto. Muddugaru Yashodha (Kurunji), among several others, was so appealing in its aural content too that one wished it had been dealt with fully. Another instance of Raksha's ingenuity of choreography was Alarulu kiliyaga aadinene (Shankarabharanam) - a masterpiece which converted the sensuous lyrics into a bhakti piece without sacrificing its meaning or aesthetics. One of the highlights of the dance feature was the description of the four sevas to the Lord - Thomaaleseva, Dolothsava, Deepotsava and Kalyanotsava, where one could literally visualise the rich and varied sevas.  Colourful, neat aaharya, bright façade of the dancers, and crispness of the dance compositions, headed by Raksha's simple emotive ability in capturing the soulful lyrics, encapsulated Annamacharya's immortal devotion. The neat lines, formations, and fine balance of nritta and facials enhanced the imagery of Lord Venkateshwara, the story of Annamacharya's life and descriptives of the Lord blending into a seamless, devotion-filled presentation. Balasubramanya Sharma (vocal) made his own musical statement with his involved singing, relating well with the dancers. Rhythm pads by D V Prasanna Kumar, as always, drew new dimensions to the musical support. Janardhan (mridangam), Jayaram Kikkeri (flute), Gopal Venkataramana (veena) lent their experienced support. B V Devaraju's nattuvangam was not noticeable simply because there was no scope for it. Light designer Nagaraj created the mood, setting and atmosphere for the dancers, framing each sequence with a distinct ambience. Make-up by Vimal Kanakaraj was refined. The recital was got up by Sri Yadugiri Yathiraja Mutt and Sri Ramanuja Kalakshetra, Bengaluru, on Dec. 3, at Sri Ramanuja Samskruthi Bhavan. The Sri Mutt organises classical music and dance programmes with constant regularity, as a divine offering. In fact, these classical arts performances are an integral part of the Sri Mutt's sacred worship, considering them as a gateway to the realms of the divine. Annamacharya Sankeerthana Sudha was indeed a slice of Bhanumati's Nrityakalamandiram.  Jyothi Raghuram is a senior journalist and art critic based in Bangalore. |
