Nupura School of Bharathanatyam, headed by Lalitha Srinivasan, presented ‘Nitya Nritya 2014 Conference and Festival of Dance’ in Bangalore recently. The three-day festival held at various venues in the city included a series of video presentations, lecture demonstrations and solo and group dance performances in diverse disciplines such as Bharathanatya, Kathakali, Odissi and Mohiniattam.
‘Vande Padmanabham’, a Bharathanatya recital by Ranjitha Vivin based on the compositions of Swathi Thirunal, formed part of the second day’s programme. After a brief salutation to Lord Ganesha, the artiste presented ‘Janani Pahi Sada’, the seventh of the Navarathri krithis in Sanskrit, set to Shuddhasaveri raga and mishra chapu thala. The choice was appropriate in view of the ongoing Navarathri season, paying obeisance to Devi, the sister of Padmanabha, the one who is adorned with the tilaka, has lustrous tresses, whose vehicle is the lion, and who is at once serene, nurturing and fearsome.
The focal point of the performance was the ata thala varnam in Telugu, ‘Sarasijanabha’ in Kamboji raga. Diverse interpretations of each line of the sahithya were punctuated with jathis incorporating intricate rhythms that were executed with precision and ease. Woven into the item, a paean to Lord Vishnu in whom the devotee places absolute trust, were sancharis of the well-known episodes relating to Gajendra Moksha and Draupadi Vastrakshepa, instances of the Lord’s infinite compassion and mercy towards those who surrender themselves to him. The charanam featured elaborate choreography that highlighted the complex rhythmic possibilities inherent in the swaras, which were repeated in varied combinations. The item was notable for accurate, yet soft footwork and grace, and was adequately expressive in the abhinaya components, attesting to extensive tutelage, training, and dedication. The adherence to tradition in the choreography, lack of harsh movements, and an optimum tempo imbued the piece, which extended to about thirty minutes, with charm and serenity.
An exposition of the javali ‘Saramaina’ in Behag raga and rupaka thala, also in Telugu, portrayed the khanditha nayika who is exasperated by the Lord’s words and doings, tormented by Manmatha’s arrows and virtually drowning in the anguish of separation, though eventually she surrenders herself to him to the exclusion of all else. The concluding thillana in Kalyani was a lively and elegant exploration of the technical niceties of the genre, making full use of the large proscenium space and reaffirming the artiste’s competence and artistry.
The excellent orchestral ensemble was led by the dancer’s guru and director of the programme Lalitha Srinivasan, who wielded the cymbals. While melodious vocal support was provided by D.S. Srivatsa, expert instrumental accompaniment by N. Narayanaswamy (mridanga), T.S. Krishnaswamy (violin), and Vivek Krishna (flute) contributed much to the success of the recital. A padavarnam such as ‘Daani Samajendragamini’ in Thodi, and a Malayalam padam, for instance ‘Aliveni’ in Kurinji, from the numerous padavarnams and padams that form part of the priceless legacy of the royal composer and lend themselves admirably to comprehensive choreography and to intensive abhinaya could be considered for inclusion in future editions of the performance.
