Eminent artistes got here collectively to supply wealthy selection on the GV Ramani Natya Kala Foundation’s on-line pageant
For the previous 9 years, Gayatri Subramaniam, founder-director, Guru GV Ramani Natya Kala Foundation, (GVRNKF) has been internet hosting fascinating occasions in Vashi, Navi Mumbai. This 12 months’s annual pageant was held on-line.
The opening occasion was Meenakshi Srinivasan’s Bharatanatyam efficiency. She started with an invocatory salutation to Lord Padmanabha. Verses from Kulasekara Azhwar’s ‘Mukundamala’ and Swati Tirunal’s kriti (‘Bhogeendra sayeenam’, Kuntalavarali) mixed with sollus and swaras have been an attractive exploration of Srikara on Ksheerasagaram. The pauses allowed ample time for each pose of Vishnu to sink in. The imagery of the procession aided by apt musical notes was a delight.
The Thanjavur Quartet varnam (‘Sarasa Ninnu,’ Karnataka Kapi, Rupakam) was a delicate interpretation of sringara bhakti. The nayika’s intense eager for union with Lord Brihadeeswara as a lover and devotee without delay was introduced out seamlessly. The unhurried delineation of her pangs, chosen episodes and the varied Shiva stances contributed to the visible gratification. In the Sarangapani padam, the nayika pretends that she doesn’t know Krishna and asks for his title. Though startled at first, Krishna decides to play alongside, and lists his completely different names.
Music for this padam was by Okay. Hariprasad, set in raga Nattakurinji, misrachapu talam. The complete presentation, from Krishna’s standpoint, was embellished with intermittent reactions of the nayika. Blessed with lithe deportment, Meenakshi carried off her recital with grace and allure. The costumes have been neat and compact. By fine-tuning the prayer music and intermittent overtures, Meenakshi may have squeezed in a short thillana.
The orchestra that includes Hari Prasad (vocals), Jayashree Ramanathan (nattuvangam) and Vedakrishna Ram (mridangam), Ishwar Ramakrishnan (violin) and J.B. Srutisagar (flute) enhanced the efficiency.
Seven dancers of Leela Samson’s Spanda Dance firm introduced ‘Nokkam,’ intelligently choreographed, with summary and symbolic items and conventional and up to date content material.
In ‘Bhaskaraya Namah,’ the dancers paid obeisance to the Sun with agile actions. The play of sunshine, the chanting, surya namaskar, the synergetic feet-tapping sound — it was an invigorating amalgam.
‘Athishay’ portrayed the superb feat of Krishna vanquishing the Kalinga. The fast successive actions of the dancers represented the serpent’s hood with Krishna surmounting every of them in flip. In Purandaradasa’s ‘Aadidano Ranga,’ the villagers have fun Krishna’s conquest by way of music and dance. The transition from one raga to a different — Charukesi, Hamsanandi and Bhimpalas — was easy.
The subsequent piece eulogising the river, music composed by Rajkumar Bharati, was set in varnam mettu. The lilting gait of the river, the generosity of nature, the disconnect between man and nature, forgetting the 5 senses, have been all conveyed in ‘Nadhi, nee endrum vaazhi.’ The singing in numerous octaves and swaras depicting the river flowing was interesting.
The chota khyal of Kumar Gandharva juxtaposed Dvaitam and Advaitam. On one aspect of the stage two lovers, in a pool of sunshine, awaken to the daybreak of a brand new day whereas on the opposite aspect a pair await in nightfall the onset of evening. Two dancers symbolize Bhogta and Drishta, the 2 birds from the Vedas symbolising man veiled and unveiled without delay. The contrasted gentle and silhouette results have been exemplary.
Swarnanjali, the concluding thillana, in raga Purvi was a celebration of rhythm, the evolution of seven swaras, the colors, animals and rasas they symbolize, culminating within the pranavartha, worship of Brahma past kind and faith. The dancers, backed by their coaching and rehearsals, did full justice to Leela Samson’s progressive choreography of their particular person and collective capability. The introductions by Leela earlier than each piece have been curiously accomplished on light pictures of the dancers.
Blend Of Styles
A quick impactful invocation by senior Carnatic vocalist Sikkil Gurucharan set the stage for ‘Shivamritadhaara,’ a thematic collaboration with Bharatanatyam duo — Renjith Babu and Vijna Vasudevan. An spectacular entry as a river flowing, the normal mallari the place Vijna walked with sedate steps with the kumba whereas the agile Renjith donned a number of roles together with Nandi, the drummer, and so forth., depicting the procession. Well-executed jatis segued into ‘Jambupathe.’ The concerned emotive singing by Gurucharan and the nuanced portrayal by the duo made it an audio-visual delight.
The Bahudari raga alapana with a lilting tanam and clever niraval for the kriti ‘Sadanandathandavam’ created a complete expertise. This allowed scope for a melodious violin show by Ishwar and a scintillating thani by Sumesh.
Moving again to the collaboration, the duo introduced ‘Nagendraharaya’ defining the panchakshara. Beginning with the imagery of the eight snakes shifting by way of the chakras, the outline for every akshara was detailed and communicative. Gurucharan was at his greatest whereas singing this piece and Renjith discovered ample scope holding related yoga poses.
Gurucharan’s subsequent was a padam in Nilambari, set to misrachapu tala. This composition by V.P. Dhananjayan was a lullaby sung by a mom to a baby as she waits for her husband. The concluding thillana started with melodic notes on the violin by Ishwar Ramakrishnan. Beautifully co-ordinated nritta was adopted by delicate abhinaya.
The verve and diction of Sikkil, mixed with Sumesh Narayanan on the mridangam and Okay.S. Balakrishnan on the nattuvangam added worth. The color co-ordinated costumes in gentle and darkish blue have been interesting. The duo needs to be credited for the apt use of hasta mudras, their analysis and appropriate function reversals.
Videography and enhancing by Iyappan Arumugam and occasion coordination by Varsha Kumar have been noteworthy.