~G V Anna Rao
On 4th October, as the Dassera Festival continued, a Kuchipudi recital by Surendra Nath and students in cream and green costumes was well received by the audience at Ramalayam. First item was Ganesh stuthi, “Girijasuthunaku Vandanam”. The characteristics of a stuthi is to praise the Deity and this was brought out profusely by Surendra Nath, Akshara and Supraja. Their vivid groups captured the imagination as they went through the forms of the Elephant Headed God who keeps away all hurdles and makes life healthy, wealthy and prosperous. This prayer to the God of good beginnings was well thought out.
The Ananda Tandavam is an awesome dance of bliss that Lord Siva is believed to perform at Chidambaram as Nataraja, the King of dance. The dancing Deity was depicted as holding the Drum and Fire, while also posturing with the right hand showing abhaya hastha signifying succour and the left hand in danda hastha showering boons. This item was in ragamalika. The three artistes portrayed it interestingly. A Narayana Teertha Tarangam done vibrantly rounded of the performance.
A Beautiful Presentation: Next was a Bharatanatyam program by Aditi Rao Ashtaputre and her students; she is the founder and artistic director of “Nadee School of Movement”. A short prarthana or prayer with dhyana slokam was from the natyam series of Malathi Iyengar elucidated with creative choreography as prayer is done to seek guidance, solace or strength. It is a collective vibration of a symphony of voices resonating together to invoke peace, unity and well-being. The body itself is a reflection of the Universe, every Heartbeat mirroring the Cosmos. The Stars are worn by us, as a part of the Universe we live in.
“Ganapathi Atharvashirsha” is a hymn from the Atharva-Veda dedicated to Lord Ganesha. He is the eternal undying truth asserted capably through natya. This was a catchy tune in a modern beat voiced by Shankar Mahadevan. Aditi was in a beautiful red with green and gold bordered aharya and the young students in skilfully designed variegated costumes which were matching.
Saraswati Vandana expresses that knowledge and the arts are the pillars of human growth, understanding and creativity. The one equips us with the ability to navigate the World whereas the other is the heart’s personal feelings transcending language and logic, offering a language of universal connection. Devi Saraswati embodies the creative force in all art forms imagined as a purifying force. She is delineated as seated on a white Lotus and dressed in white with a Swan as her Vehicle.
The unconditional love of Yashoda for Krishna despite his seemingly boundless capacity for mischief is the theme of “Muddugare Yashoda” by Annamacharya. “Krishna, Precious Pearl in Our Courtyard” (Mungita Mutyamu) is an ornate imagery of the Lord. The students in a swirl of frolicking movements formed groups alive with energy and “Krishna” was bodily lifted and taken away climactically to enthusiastic applause! Goddess Lakshmi with little steps, jingling Anklets, Bangles sparkling and offering infinite wealth likened to a golden Doll was invited by enthralling poetry in “Bhagyada”. “Brahmam Okate” in Bowli raga which opines the oneness of all Creatures concluded the recital fittingly.
Sanjana Shines: 6th October witnessed a Kuchipudi performance by Sanjana Siripurapu, one of Hyderabad’s most graceful young artistes. She is a student of legend Padma Shri Dr. Sobha Naidu. Appropriately enough Raja Rajeshwari Ashtakam was a rousing paean of praise contained in a divine hymn of eight stanzas hence the title ashtakam. The lyrics explain the attributes of the Goddess and her protective nature. She is extolled by her various names in incarnated forms of Amba, Shambhavi, Trinayana, Aparna, Savithri etc. Sanjana elegantly displayed the postures in this piece.
Saraswathi was invoked in “Mamavathu” where she is picturised as Goddess of learning, speech, the very essence of the Vedas. The Veena is in her hands as she is worshipped by the Celestials and always fulfils her devotee’s wishes. Sanjana’s delicate precision in nritta and abhinaya was a joy to behold. The last item was lyrical as in “Vacchenu Alamelumanga” her romantic sway denoted the procession of the Goddess towards Lord Venkateswara. As Parrots chirp, her Eyes sparkle and her gliding walk is adorned by jewelled Anklets. Heavenly Apsaras sing and dance in intricate patterns to welcome and entertain the divine Deity. The dancer’s poise was perfect in this lustrous piece shedding a glow onto the stage as her mastery of natya and abhinaya was excellent. Sanjana’s costume was rainbow hued giving a very pleasing effect.