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 Bhaav Dance Festival - Harish Bal e-mail: harishbal77@gmail.com Photos courtesy: C-Hed Archives December 13, 2024 Mohiniyattam and Odissi are two classical dance styles which have much in common. The movements are less linear and more curvaceous. Emphasis on slow torso bends and movements give these forms that added feminine grace or lasya. 'Bhaav,' a dance festival orgainized by Kochi municipal corporation, featured Ameena Shanavas' Mohiniyattam and Nrityagram's Odissi group choreographies.  Ameena Shanavas Ameena Shanavas, a student of senior guru Nirmala Panicker, is also a Bharatanatyam dancer. She has adapted her guru's desi repertoire and presented those very indigenous items with poise. 'Chandanam', 'Eshal', 'Kurathi', 'Poli' are such items which borrow themes from the ethos, landscape and culture of Kerala. One such item Ameena presented was 'Mukuthi' in which the nayika talks to her sakhi of her lost diamond nose pin, its features and she searches for it everywhere. Originally meant to be a light dance piece, 'Mukuthi' was later interpreted by Nirmala Panicker as a search and realization of the ultimate truth or 'parabrahma' leading to salvation. This was portrayed dramatically in the lines 'Uravil ninnuranju ponthi'; the rhythm reached a crescendo with maddalam and edakka as the dancer showed the idea of 'mukthi'. The dancer began her presentation with cholkettu, which is a pure dance item in the Mohiniyattam repertoire, with the characteristic movements of the dance in varying speeds and syllables. An invocation to Shiva and Devi was incorporated in this rhythmic piece set to raga Sankarabharanam. The dancer was fully in control of the dance idiom, never once moving overboard with the movements or the emotive expression. This facet of the dance was to be further explored in the varnam 'Natana nipuna viswanatham' in Reetigowla raga. The nritta segments were choreographed well and the story telling in the vinyasa was lucid and vivid. The churning of the milky ocean and Shiva drinking the kalakoota poison was enacted.  Nrityagram ensemble Nrityagram, the premier institute for Odissi dance, presented as many as seven items from their wide repertoire including ashtapadi, pure dance and Odiya abhinaya items on Krishna. Surupa Sen, the artistic director of Nrityagram along with Pavitra Reddy, Anoushka Rahman and Daquil Miriyala presented 'Sankirtan'. A sprightly dance item with synchronized movements showed devotees of lord Jagannath inviting people to come and rejoice in music and dance in worshipping Krishna. He is shown as a friend and warrior, wearing conch shell and his body smeared in sandal paste. 'Srimathi', one of the oldest productions of Nrityagram, celebrates beauty and sensuality of a woman in her youth and maturity. Her coy and capricious nature is in contrast with her more bold and confident self as she grows older and offers herself to the lord. Elaborate nritta sequences with nimble footwork, swift swirls and flawless landings on the chowka were a delight to watch. The evocative vocals of Jatin Sahu elevated the quality of the choreographies. His modulated singing with tonal perfection brought more gravitas to 'Sivashtakam'. Still poses and dynamic movements showing the fierce and benign aspects of Shiva were danced well by Pavitra, Anoushka and Daquil. Seasoned dancer Pavitra Reddy took up an Odiya abhinaya piece 'Se nata nagoro' written by Kavi Banamali. The nayika asks her sakhi not to defend Krishna whose intentions are as dark as his complexion. Pavitra portrayed effectively the heroine's feeling of betrayal yet her intense love for Krishna.  Harish Bal has been an art writer for over 20 years. His reviews and features have appeared in The Hindu, Sruti and several magazines and portals. He conducts programs on art for Doordarshan and All India Radio. He is also a classical musician and corporate trainer. |
