~G V Anna Rao
Ravindra Bharathi was the venue for the weekend presentation of “Tamrapatra”, a unique classical dance feature, based exclusively on the poetical compositions of the Saint Composer Annamacharya presented by five of India’s leading dancers – Ananda Shankar Jayant, Anupama Kylash, Deepika Reddy, Gopika Varma and Vaibhav Arekar across the styles of Bharatanatyam, Kuchipudi and Mohiniattam. It was a journey into the world of Annamacharya in his unrivalled imaginative recreation of his Lord’s ‘vaibhava’, a devotional outpouring of Telugu and Sanskrit lyrics delving into the bhavas of ‘Shringara’ and ‘Adhyatma’ transporting the audience into their interpretation through poetry, music and dance by the artistes. This was the live production of series based on late singer Sathiraju Venumadhav’s recordings, originally curated for “Natyarambha’s” online learning series where renowned dancers envisioned and taught through their choreography sharing their distinctive creations across the Globe with great generosity.
The solos started with Bharatanatyam by Vaibhav Arekar. His aharya of blue and red coupled with an unrivalled blend of nritta and abhinaya seemed like a softly gleaming Opal shot through with sparks of colour. Vaibhav’s pensive Krishna departing from the usual depictions of the blue God, is at a later and more mature stage of life looking back at the idylls of his youth in the verdant glades of Brindavan. “Thalachina Hridayam” in Abheri is a recollection of the memories of Radha ever present in his heart. Her grace makes it skip beats whenever thought about. Will he ever see her again is the unvoiced question. A reflective lovingly reminiscent mood brought her image finely detailed like in a Miniature Painting in abhinaya while emanating a sense of restrained control in the nritta. She rubs the floor with her toe while hiding tears inside half closed eyelids lest they spill. It was a wretched fate to ignore this silent appeal. Supporting her cheek on her palm, wan with exhaustion she tries to suppress her fears as she speaks loving words in a trembling voice. Krishna’s courage is on the verge of collapsing at the thought of deserting her. The strength of her devotion is shown by the warm embrace in which she enfolds him daring him that she will not let go as her tender skin shivers in fearful anticipation of a sorrowful parting.
The second piece done in Mohiniattam by Gopika Varma was in Sanskrit and Sama raaga -“Ati Sobhiteyam Radha”. Carrying on from where the preceding song was Radha seen through the mirror of Krishna’s feelings – here we have her more direct avowals. The artiste in heartfelt emotion in this predominantly abhinaya piece was like a lustrous Pearl emerging from the sea in her white aharya with blue borders. Surpassing range of facial expressions denoted the power of Radha who inspires uncontrollable love in Krishna. She is haughty, proud of her beauty glowing with divine effulgence. Her anger is quick to awaken when crossed. Being blessed with the compassion of Sri Venkatesa, she is an abode of glowing Moonlight. Gopika was all charm as she entranced as a veritable Radha on stage, so vividly did she bring her to life. Her manodharma was inspired as she depicted Radha trying to play Krishna’s flute!
The next two pieces were in Kuchipudi. Deepika Reddy chose “Ekkuvatakkuvalevo” in Behag, a strikingly modern, familiar theme (Feminism from a 15th century Poet!) of there not being any rivalry for superiority between the Lord and his Consort. Both are perfectly matched equals is the refrain. Sparkling nritta combined with perfect abhinaya in a red violet hued costume made her look like a crimson tinged Sapphire. The Lord created Ambrosia from the churning Ocean but her very Lips drip honeyed Nectar. A golden garment gives him lustre however she has a body of pure Gold. The Kaustubha Jewel adorns him, complementing is her mouth filled with shining Gems. As Vamana, no doubt you measured the Sky but her tiny Waist is the whole Universe. Her qualities are unfathomable while you sleep on an endless Ocean. You only think of her when you are in union but she always has her mind fixed on you! The imagery in this most beautiful marvel of descriptive poetry was exquisitely brought out with the enamelled glaze of an image painted on Ivory with matchless skill of variegated angika and hasthabhinaya.
Raaga Patadeep was filled to the brim in longing – “Talachina Dehamu” as essayed by Anupama Kylash lavished effortlessly a cascade of emotions from an acknowledged master of profound abhinaya in green aharya. As an essentially expression-based piece all the ornate embroidered phrases of word play – melting Musk sliding onto Cheeks from Hair, Body unable to breathe under the pressure of emotions, lovingly gentle touches, the ardent embraces perfumed with the fragrance of Kasturi were all intricately portrayed with immense depth and glittering glances. It could be compared to a finely wrought piece of Emerald Jade embellished in filigree work carved by a master craftsman.
The meeting of Alamelumanga and Venkateshwara was described as the six seasons in “Kaalamularanu” in Vasant in the concluding Bharatanatyam recitation by Ananda Shankar Jayant. This Shringara piece overflowing with passion heightened by overwhelming sanchari bhavas was done with a sure and firm grip on the grammatic calligraphy of the art form creating a masterpiece of classical understatement. The artiste radiant as a Star Ruby in scarlet attire balanced the facets of nritta, natya and abhinaya with consummate ease. The abrasions of Eros were playfully imagined. The pallavi proclaims that all the seasons are offered by the youthful Goddess to the Lord. Vasanta of the winding Creepers is the Blooms galore falling from her locks, the warmth of her body envelops in the scorching heat of summer, her drenching torrents of Sweat are Monsoon showers, Moonlight of her unwavering gaze is Sharad. Her fresh lithe limbs whisper of Hemanta and her enfolding clasp is Shishira of delectable Wine and Sweets.