The fifth edition of Lasyotsavam, a three-day festival at the Model Regional Theatre, Thrissur, began with a Bharatanatyam recital of Priya Venkataraman prior to which was a brief solo edakka recital to create an appropriate ambience.
Priya Venkataraman
She began her performance with a Pushpanjali in raga Malayamarutham, Adi tala, an invocatory number dedicated to Lord Siva. Then Priya moved on to the varnam, ‘Innum en manam’, a composition by Lalgudi Jayaraman in raga Charukesi, Adi tala. She convincingly portrayed the deep longing of the Nayika for her beloved Krishna. Next was the presentation of the famous Ashtapadi, ‘Pashyathi dishi dishi’, in raga Vasanthi. Priya’s interpretation of the anupallavi and the charanams were loaded with bhava as she depicted Radha’s feeling through the words and the actions of her sakhi (friend) to Lord Krishna.
This weighty item was followed by a padam of Madurai Kavi, akin to a Javali. ‘Yarukkakilum bhayama’ is the Nayika’s indifference towards gossips once she decides to be with her lover. Priya made the piece impressive yet light and fluent. Priya concluded with Balamuralikrishna’s thillana in raga Kadanakuthoohalam, Adi.
Sandhya Raju
On the second evening, Sandhya Raju from Hyderabad presented a consummate Kuchipudi recital. Her opening piece was ‘Saraswathisthuthi’, a pure dance composition. The sloka, ‘Yakundendu thusharahara...’ preceded the sthuti in raga Valachi. Next came ‘Ramayanasabdam’, touching upon some of the significant incidents in the story of Lord Rama, such as ‘Balivadham’ and ‘Pattabhishekam’. Adavus and expressions were beautifully interlocked in the piece.
An ardent devotee’s worship of goddess Padmavathi was the next item, an Annamacharya composition choreographed by Vembatti. She then stepped into the main piece of her recital – the Ashtapadi ‘Sancharadadhara sudha’, in ragamalika, Adi. She meticulously depicted the anguish of Radha mercilessly renounced by her beloved Krishna. Radha’s reminiscence of her happy days with the Lord provided an apt contrast in expression as Sandhya switched from shoka to sringara. In alluring visual phrases, she presented the absence and presence of Krishna. Nritta and nrithya played hide and seek in the artistry of Sandhya who ended her recital with a brisk thillana of Balamuralikrishna in Behag.
Absence of live music did not have much of an adverse impact.
Sadanam Balakrishnan and Pallavi Krishnan
The next recital saw Sadanam Balakrishnan and Pallavi Krishnan perform a newly choreographed piece, ‘Radhamadhavam’. The piece was a well-knit group composition. Those familiar with the Purappad of Kathakali could easily identify with Balakrishnan’s presentation of Krishna. Balakrishnan with two other dancers did their role as Krishna confidently while Pallavi as Radha accompanied by her sakhis was expressive and ebullient.
Vocalist Nedumpilly Ram Mohan’s rendition of the chollus formed the perfect backdrop for the dramatic entry of Radha. Her rejoicing in the sensuousness of spring with sprouts, tendrils and flowers and her longing for Lord Krishna saw Pallavi at her creative best.
The final scene of ‘Rasaleela’ in which Krishna and the Gopikas got together was fascinating in terms of the music and the visuals as it brought together the aesthetics of Kathakali and Mohiniyattam. While Balakrishnan did understandably exercise a lot of restraint in the characterisation, Pallavi was totally involved, thereby augmenting the emotional impact of the overall performance.
Madhu Natraj
As the finale of the fete, Madhu Natraj and her troupe presented Kathak in its traditional splendour yet with an innovative quest. She began with an invocatory piece to Lord Ganesha, employing the lines of Adi Sankaracharya. This pure dance piece was an admirable variation from the usual ‘Ganeshasthuthis’.
The item that followed was Chaturang, the four components of dance and music springing from the cosmic dance of Lord Siva and Parvathi. The music of the piece was originally composed by the Dagar Brothers from whom Madhu’s guru, Maya Rao, received it. Madhu danced the item solo and then as part of a group performance. Pirouettes, the customary feature of Kathak, were sparingly used, but with tremendous effect.
‘Sanjok’ (literally, a coming together) was the third item, which was a mixture of both folk and classical.
The subsequent piece was ‘Nirvaya’. This mystic poetry on Lord Siva, considering its abstract nature, must have been a challenge for the dancer. The music in the thumri format helped Madhu create an impression of her merger with the divine.
‘Dasavatar’ followed as a group-choreography, which, unfortunately, did not have the anticipated punch. Madhu and her group performed two more numbers that underscored their devotion towards Kathak as a living tradition. Her attempt has been to prove that Kathak lays equal emphasis on Nritta, Nrithya and Natya instead of racy footwork and whirls. Her recital underscored the vision she inherited from her guru. Live background music could have provided a different tone to the recital.
The festival, organised by Mohiniyattam dancer Pallavi, who runs Lasya Akademi of Mohiniyattam, was supported by the Ministry of Culture, Government of India.
