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 Delightful solo dances embodying emotions - Satish Suri e-mail: satishism@yahoo.co.in December 20, 2024 Shravani Satish, a disciple of Mithun Shyam, presented a margam titled 'Indira - the Ethereal Beauty' on November 27th at Seva Sadan, Bangalore. The recital opened with Nritya Namaskara, a graceful invocation paying obeisance to the divine, the accompanying musicians, and the audience. This was beautifully complemented by the delightful flute refrain of Mahesha Swamy, setting a serene tone for the evening.  Shravani Satish (Photo: Sudhi) The performance progressed with a Ganesha Stuti composed by Mithun Shyam, which celebrated the elephant-headed deity. The rendition included an eloquent exposition of Goddess Saraswathi, the supreme mother of knowledge, beautifully highlighting her various attributes. The portrayal depicted the Goddess seated on a swan, symbolizing discernment, as she guides her devotees toward spiritual enlightenment. Acknowledgement was given to Shankar Kandaswamy for the choreography, which enriched the presentation with its lyrical and thematic depth. The Navaragamalika Varnam, "Saamiyai Azhaithodi vaa Sakhiye" (adi, composed by K.N. Dandayuthapani Pillai), was a radiant highlight of the portrayal which narrates the poignant tale of the heroine requesting her Sakhi to bring her beloved Lord Shiva to her. Through her plea, she expresses a deep yearning for union with the divine, reflecting both her devotion and love. The execution was punctuated with commendable stamina, verve and virtuosity. It sparkled with crisply rendered theermanams and meticulously timed, executed steps. Particularly noteworthy were the theermanams before and after the charanam—the former stood out for its intricate rhythmic structure, while the latter symbolized the Shiva Thandavam, capturing its vigour and majesty. Composed in multiple ragas, the Navaragamalika provided a palette of varied musical textures, enriching the emotional tone and atmosphere of the piece. It showcased the dancer's technical prowess, particularly through its complex rhythms and intricate footwork. The concluding charana swara vividly visualized the dynamic Shiva Thandavam as a tableau, featuring the active participation of Parvati, Vishnu, Brahma, Nandi, and Narada, beautifully staged and harmoniously coordinated. The choreography brought this divine scene to life with elegance and precision. The artiste expanded the impact of the Navaragamalika Varnam through detailed sancharis, delving into the myriad hues of Lord Shiva and his divine attributes. "Rusli Radha, Rusla Madhav," a Marathi abhang, vividly portrayed the emotional dynamics between Radha and Krishna, capturing moments of playful resentment, anger, tension and longing in their divine relationship. The lighthearted depiction of the lovers' tryst, woven into the imagery of Gokul, infused the performance with charm and relatability. Even nature seemed to echo their emotions, as symbolized by the lotus and its leaf. The artiste's evocative portrayal transported the audience to Gokul, immersing them in the anticipation of Radha and Krishna's reconciliation. The piece "Alaipayuthey Kanna" beautifully conveyed a sense of longing and emotional turbulence, emblematic of love and devotion. The depiction captured the essence of a nayika deeply in love with Krishna, showcasing moments of joy, playfulness, and intimacy. Through expressive abhinaya, the artiste brought to life the nayika's inner turmoil and bliss, portraying the delicate balance between yearning and fulfilment in her relationship with Krishna. Shravani concluded with the Panchapriya Thillana in Ragamalika, a composition of Balalamuralikrishna. The dancer's ebullience was evident in her seamless handling of both nritta and abhinaya, demonstrating remarkable technical precision and emotive depth. Her ability to balance rhythmic brilliance with evocative expression added profound layers of beauty to the performance. The movements, metaphors, and words harmoniously united with the dance, creating a cohesive and immersive narrative. The presentation was elevated by the contributions of skilled musicians, whose synergy created a collaborative atmosphere, enhancing the overall experience. A special mention goes to Rohit Bhat (vocals), Mithun Shyam (nattuvangam), Dhanush Natampalli (mridangam), and Mahesha Swamy (flute), whose artistry added depth and vibrancy to the performance.  Pallavi Anand (Photo: Prof K.S.Krishnamurthy) Pallavi Anand, a disciple of Mavin Khoo, presented a captivating margam on December 6th at the Krishnadevaraya Hall, as part of Abhivyanjana by the Mitra Cancare Foundation, supporting cervical cancer vaccination efforts. Opening with the Athana composition "Balakanakamaya", she portrayed Tyagaraja's plea for Lord Rama's grace. Guided by Mavin Khoo's innovative choreography, Pallavi combined power, grace, and flawless technique to deliver a spiritually uplifting and artistically engaging performance. Pallavi Anand's rendition of the Varnam "Sarasa Sara Sundara" in Neelambari, a composition by Swati Tirunal, was a graceful celebration of the glory of Lord Padmanabha. Her performance was marked by a remarkable blend of technical finesse and emotional depth. The jathis by Vijaykumar, flavoured with rhythmic sollus from the Mohiniyattam tradition, added a unique texture to the presentation. This blend created a nuanced rhythmic interplay that not only enriched the auditory dimension but also added a fresh layer of grace to the overall choreography. These intricate rhythmic patterns were executed with joyous precision, showcasing Pallavi's effortless control over line, rhythm, and intricate adavu sequences. Her ability to meet the demanding challenges of speed and complexity underscored her technical prowess and command over her craft. The thematic portrayal of Lord Padmanabha was equally compelling. The artiste's awe and reverence were palpable as she contemplated the magnificent form of Vishnu, visible through the three doors of the Anantha Shayanam. The depiction of iconic episodes such as Vishnu's role as the saviour of Gajendra and Draupadi, along with brief but evocative flashes of the Dasavatara, brought a narrative richness to the line "saducharita nayaami katham Sri Padmanabha deva." This seamless execution of complex movements, intertwined with emotive expressions, highlighted both the grandeur and compassion of Lord Padmanabha. The performance of the light-hearted Javali, "Sarasamulade" (Kapi, Adi, composed by Poochi Srinivasa Iyengar), offered a delightful blend of humour and nuanced expression. In this piece, the nayika playfully tries to dissuade Krishna from his amorous advances, citing the inopportune setting—a clear moonlit night with family nearby. The narrative was far from straightforward, requiring the nayika to balance her reluctance with a subtle acknowledgement of being flattered by Krishna's attention. This duality was captured beautifully, as the nayika conveyed a mix of coy charm, apprehension, and a touch of mischief. Pallavi Anand rose to the role's demands with commendable clarity, her abhinaya breathing life into the nayika's dilemma. The highlight of her performance was the moment when, with a broad smile that betrayed her inner delight, she symbolically shut the door on Krishna's face—leaving the audience charmed by her wit and Krishna's playful persistence. The Behag Thillana, choreographed by Guru VP Dhananjayan, served as a dynamic conclusion to the concert. The choreography showcased vibrant movements and striking contrasts, embodying both energy and grace. The charanam portion featured a heartfelt ode, proclaiming, "O Guruvayur Isha, you are the compassionate one, and we, the students of Bharata Kalanjali, offer our Naatyam." This emotional offering underscored the spiritual devotion and artistic dedication that defined the performance. The enactment was greatly elevated by the exceptional contributions of the accompanying musicians. Harshita Vidya's bhava-filled singing infused deep emotion into the presentation, while the tonal tautness of Sharat T.S. on nattuvangam added precision and rhythm. The clear-toned violin of Mathur Srinidhi provided a lyrical complement, and Vidyashankar's nuanced mridangam touches brought dynamic layers to the performance. Together, the ensemble created a richly textured musical foundation that heightened the overall impact of the recital.  Bijayini Satpathy (Photo: Ravi Shankar) Bijayini Satpathy's Odissi performance 'Abhipsaa - A Seeking' on December 7th at the Bangalore International Centre beautifully wove together narrative and non-narrative dances to explore the idea of seeking across physical, emotional, and spiritual realms. The performance opened with 'Vigraha', followed by 'Ahirini', two segments that delve into a young woman's imagination and emotional journey. Vigraha: Set against the backdrop of Adi Shankaracharya's Ardhanariswara Stotram, this piece captures the young woman entering a temple for her daily worship of Shiva. The Shiva Linga and the iconography of Ardhanariswara (the androgynous form of Shiva and Parvati) serve as powerful symbols, igniting her imagination of divine masculine and feminine forms unified in their sensual and magnificent duality. The dance brought to life the spiritual and emotional reverberations of this imagery, exploring the delicate balance between opposites and the allure of divine harmony. Ahirini: Inspired by Kazi Nazrul Islam's Bengali poem, the second segment presented the poet's sensitive encouragement of the young girl to articulate her desires and make her choice. Here, the young woman's spiritual seeking transforms into a personal and emotional journey. She is drawn to Krishna, finding him more accessible and alluring compared to Shiva's intimidating and fierce persona. Krishna, as the passionate and darkly radiant allurer, becomes the embodiment of her choice over Shiva, who symbolizes radiant transcendence and forbidding strength. The performance beautifully contrasted the themes of divine duality and personal agency, blending classical Odissi technique with nuanced storytelling. Bijayini Satpathy's interpretation captured the essence of seeking as both a profound spiritual quest and a deeply personal journey of self-discovery. Vibhanga: In a refreshing departure from tradition, Bijayini Satpathy offered a captivating interpretation of Odissi, showcasing its adaptability and evolving nature in response to a Carnatic Thillana. This segment, titled 'Vibhanga' is inspired by the Desh Thillana composed by the legendary violinist Lalgudi Jayaraman. Bijayini's choreography embodied the mercurial fluidity of Odissi. She brought forth an instinctive, contemporary response to the rhythmic and melodic intricacies of the Thillana. The performance unfolded like a dynamic interplay of ancient memories and innovative movement, where the swirls and curves of Odissi metamorphosed into crystalline shapes and patterns. These new forms, riding on the waves of melody, effortlessly melded into a cohesive and harmonious whole. 'Vibhanga' exemplified the transformative potential of classical dance, demonstrating how it can transcend stylistic boundaries while remaining firmly anchored in its essence. This seamless synergy between Odissi and Carnatic music highlighted Bijayini's creative ingenuity and her ability to reimagine tradition through a fresh and instinctive lens. The music arrangement by Srinibas Satpathy was a highlight of the performance, particularly in its treatment of Desh Thillana. Satpathy's arrangement showcased a masterful understanding of both Carnatic and Odissi traditions, weaving together their distinct musical nuances into a seamless whole, providing a rich auditory backdrop that allowed Bijayini's choreography to shine with renewed vigour. This synthesis of music and dance underscored the adaptability of Odissi to new musical contexts while staying rooted in its classical ethos. The arrangement served as a bridge between traditions, enhancing the performance's aesthetic and emotional impact. Viraha, in longing: Bijayini Satpathy's evocative interpretation of "Sakhi hey sidati tava virahey vanamali" from Jayadeva's Geeta Govind, set to the original composition by Pt. Raghunath Panigrahi, vividly captured Krishna's yearning and the emotional turbulence of separation. The piece delved into the complex interplay of love, longing, and passion, as experienced by Krishna, Radha, and the Sakhi. Krishna, aching with longing during his prolonged separation from Radha, entrusts the Sakhi with a heartfelt plea to his beloved. The Sakhi, a silent witness to their love, carries Krishna's words of grief, tinged with her unspoken desires and secret longings. This delicate dynamic unfolds through movements that reflect her inner conflict and devotion. When the Sakhi reaches Radha, her words stir a profound transformation. Radha rises from her anguish and heartbreak into a state of heightened passion, her emotions mirroring the depth of Krishna's longing. The choreography beautifully portrayed Radha's journey from sorrow to an intense yearning that bridges the physical and metaphysical dimensions of love. Bijayani's mastery of abhinaya, brought alive the emotional depth and spiritual essence of the Geeta Govind, blending Odissi's lyrical grace with a profound exploration of divine love. The result was a performance that resonated with the timeless themes of separation, longing, and the transcendent union of souls. Vimukthi, the final dance: In 'Vimukthi', the concluding dance of Bijayini Satpathy's performance, the mystic poet Kabir's celebration of Nirgun (the formless divine) became the central theme. Kabir's verses exalt death as the ultimate liberation, where the soul breaks free from the structures, confines, and illusions of life, merging with the infinite. Through Odissi, a dance form deeply rooted in the myths and legends of Hindu deities, Bijayini transcended traditional narratives to explore the ecstatic union with formless divinity. The choreography, while retaining Odissi's classical vocabulary, ventured into the realm of the abstract, reflecting the dissolution of boundaries and the transcendence of earthly ties. Movements pulsated with the joy and ecstasy of the soul's final dance - a moment of pure freedom and oneness with the eternal, creating a profound meditation on life, death, and liberation. 'Vimukthi' stands as a testament to the adaptability of Odissi, where ancient traditions seamlessly convey the timeless quest for the formless divine, encapsulating the soul's ultimate release and celebration. The music on a recorded track that accompanied Bijayini Satpathy's performance was a vital force. Bindhumalini Narayanaswamy's vocals added a soulful resonance, seamlessly blending with the narrative's spiritual and emotional undertones. Her evocative voice brought Kabir's verses and other compositions to life, creating a profound connection between the themes and the audience. Pramath Kiran's percussion provided a dynamic foundation, enhancing the rhythmic complexity of the performance. His expertise ensured a perfect balance between restraint and vigour, complementing the intricate movements of Odissi. A standout feature was the rhythm recitation by Bijayini Satpathy and Pramath Kiran, which added a unique layer of auditory artistry. Their interplay of rhythmic syllables and patterns not only showcased precision but also heightened the tempo and flow, lending an extraordinary vitality to the performance. The synergy between dance and music created an immersive experience, setting a new benchmark for collaborative artistry.  Bangalore based Satish Suri is an avid dance rasika besides being a life member of the Music and Arts Society. |
