Tharang Academy of Arts, headed by Bharathanatya exponent Aparna Vinod, conducted the annual Tharang Utsav in Bangalore recently, a festival of dance and music performances spread over two days.
Shruti Rajalakshmi’s Bharathanatya recital, which was part of the first day’s programme, commenced with obeisance to Lord Ganesha. The following crisp exposition of Muthaiah Bhagavathar’s daru varna in Khamas raga and adi thala portrayed the multiple aspects of Devi as a kind and nurturing mother of Ganesha and Subrahmanya, the repository of all divine power and vanquisher of evil, the granter of boons and the presiding deity of the arts. Clarity and ease in the nritta and serene restraint in the abhinaya testified to the young artiste’s talent, training and dedication. ‘Mathura Nagarilo’ in Anandabhairavi raga and adi thala was a charming delineation of the nayika’s exaspertion at Krishna’s attention, though she is secretly delighted and promises to return later. Lalgudi Jayaraman’s thillana in Madhuvanthi featured beautiful choreography, studded with attractive poses and overlaid with complex rhythms executed with absolute felicity.
The evening continued with Mohiniattam by Vinaya Narayanan, who danced to recorded music and began with an ode to Ganapathi set to Kedaram raga and adi thala, with the devotee craving neither riches nor adornments from his person, but his proximity and affection. The elaborately choreographed ashtapadi beginning ‘Rathisukhasaare’, with swara interludes and nritta passages, recounted the sakhi’s exhortation to Radha to repair immediately to the bower on the banks of the Yamuna where Krishna awaits her in an agony of anticipation. The concluding item, ‘Tauryatrikam’ in ragamalika and thalamalika was a pure dance sequence incorporating some intricate rhythmic patterns based on the rich percussion traditions of Kerala. While a little more emphasis on the immense abhinaya potential of the idiom would have augmented the overall appeal, the performance highlighted the tranquil grace and technique of the genre and bore testimony to the seasoned artistry and experience of the dancer.
The ensuing Bharathanatya recital by Aparna Vinod struck a fine balance between nritta and abhinaya. The exquisite churnika extolling the beauty, power and compassion of Sarada Devi was followed by the vibrant ‘Pranava Swaroopan’ in Arabhi raga, a paean to Lord Ganesha. The ashtapadi ‘Maamiyam Chalitha’, with the refrain ‘Hari Hari’, representing Krishna’s remorse and guilt at having neglected Radha, was imbued with emotion. His wanton frolicking with other gopis has driven her away, and his wealth, abode and life itself cease to have any significance. In direct contrast was the following item, the javali ‘Apadooruku’ in Khamas, delineating the travails of a young girl who rues the gossip about her relationship with Krishna, though in the end she is drawn back to him in spite of herself. An unerring sense of laya and commendable poise were discernible in the presentation of the last item, Lalgudi Jayaraman’s thillana in Mohanakalyani.
Both the Bharathanatya performances were supported by a live orchestra with expert nattuvanga by Sheela Chandrasekhar, outstanding bhava laden vocalization by Srivatsa, and excellent flute and mridanga by Jayaram and Srihari respectively.
