Endowment Festival 2009
January 7, 2010
Commencing the margam with an Andolika Pushpanjali composed by Balasubramanya Sharma and Gurumurthy set to Adi tala, by two senior disciples Prabhakini and Srividya Krishna, the program moved towards a shabdam choreographed and performed by Deepti Mukund whose grace speaks forth. A dancer with utter sincerity and devotion to bring out the best of grace that Bharatanatyam demands, has blurred the definition that one should always be slim to be a perfect dancer. A composition by Late Guru Keshav Murthy, this Ragamalika Shabdam set to Thisra Triputa tala speaks about Lord Krishna's playing of the flute where the poet through his usage of similie "Murali" compares the divine notes drifting out from his playing of flute, to honey and nectar. The artiste adapted the best of the technique as taught to her by her Guru and her subtle abhinaya to bring out the rasa of the padam to reach the rasikas was commendable.
However, the piece de resistance of the evening was the Varnam in Ragamalika set to Adi tala composed by both the veterans and performed by Chitra Arvind, one of the seniormost disciples of Lalitha Srinivasan. Trained in both Kathak and modern dance, this dancer proved her mettle with perfect abhinaya and highly trained technique that she has learnt meticulously from her guru. With fine control of her movements, Chitra used her lissome figure to bring out the aesthetic beauty of the adavus composed with interesting permutation and combination of jathis. Chitra uses her body evocatively for the postures she executes with high perfectness, combined with neat lines and striking geometry, looking like a beautifully carved sculpture.
Suma Krishnamurthy, also one of the senior disciples of Lalitha Srinivasan, chose a padam set to Rag Valachi in Adi tala composed by Satabdhani Dr. R Ganesh where Parvati is flabbergasted to witness Shiva's unusual ways of attracting her. The overall slow pace invoking the rasa of the scene with the dancerís splendid but innate abhinaya aggrandized the beauty the padam demands.
Usage of ragas
not so commonly used for the compositions executed was one of the salient
features of the festival. Raag Faraz was used to portray Khandita Nayika's
objection to her lord's behavioural attributes towards her, that he is
attracted towards other women, through a Javali performed by Bharati with
meticulous abhinaya that a javali demands. Concluding the evening with
stunning choreography through a Thillana set to Raag Jog in Khanda
Thripuda tala in praise of Goddess Saraswati and Lakshmi, all the six dancers
merged together on the platform with a slokam taken from Krishna Karunamrutha.
trained in Kathakali under two legends Late Kalamandalam Govindan Kutty
and Guru Fact Padmanabhan under whom he is presently continuing his specialization
in Stree Vesham genre of Kathakali. He has also been a student of Bharati
Shivaji. He is an empanelled artist of Doordarshan and has established
a Solo Margam for Stree Vesham Kathakali under the able guidance of his
Guru Fact Padmanabhan. Probal is a graduate in English Hons from the University
of Kolkata. He is also the dance critic for The Hindu, Bangalore.