Mohiniyattam exponent Mythili Anoop gave a recital for South Indian Cultural Association (SICA) at Ravindra Bharathi last week. Mythili has everything that it takes to be an appealing dancer; rich repertoire, gentle moves and erect posture. Her costumes comprised a sari with a golden brocade and head bedecked with flowers, her performance for pre-recorded music was quite engaging.
Mythili opened with a popular sloka, Shantakaram Bhujagasayanam addressing Maha Vishnu and then proceeded to pray to Vinayaka dancing to the song specially penned by Kavalam Narayana Panicker.
The next number Mythili presented was popular Pibare Rama Rasam a composition of Sadasiva Brahmendra, tuned in Ahir Bhairavi. It narrates the story of Ahalya. Presenting this Mythili displayed her abhinaya skills with intermittent jatis, presented with leisurely grace.
For a change Mythili came out with Hazrat Amir Khusroo's ‘ Chaap Tilak ’ rendered by Ustad Shujaat Khan. This looked an experimental piece exploring the sacred and secular dimensions in Sufi poetry. The dance for this number had a different approach, but interesting. This was followed by Thanjavur Shankara Iyer’s kirtana, Mahadeva Shiva Shambho in Revathi, Adi taalam. It carried three themes that Mythili presented in sanchari bhavas. First was the story of child Bhakta Markandeya, devotee of Lord Siva. It was Siva who comes to the rescue of the child when Lord Yama arrives to take his life. The other themes she presented were dramatising how Ravana lifts the mountain of Kailash and also playing the ‘Rudraveena’ using his nerves he pulls out of his belly as strings of that instrument. The third episode was celestial river Ganga flowing on to the earth in response to penance undertaken by Bhageeratha. The final number was Mythili dancing for a song sung before God Ayyappa goes to sleep.
Achuta Manasa’s Kathak
Well-known Kuchipudi dancer Achuta Manasa presented a ‘Deccani style of Kathak’ promoted by Anjibabu at the SICA’s dance fest.
She opened her show with Kathak’s pure nritta form of presentation, extended into slow to fast moves with thrilling finish. The speciality of this number was the progression in its speed from slow to fast and in all its phases.
The abhinaya part began with ‘Uthan’ presenting ‘Krishna Vandana’ , salutations to Krishna. It ended with some tukdas, Todas and Gathbahav, a complex foot work matching the Jaties played on tabla. It was pleasure to watch Achyutha’s brisk and complex foot work matching the tabla output.
For nritya part she chose the composition ‘Kaise Gao' a bhajan narrating six episodes, of child Krishna’s acts that were culminated in child Krishna revealing Universe in his mouth to Yasoda and to Arjuna as well before Mahabharata war began.
The dance part also touched other episodes like Krishna lifting Govardhana Giri and ‘Draupadi Maana Samrakshanam’, saving Draupadi from being disrobed in Kaurava court. This song was set in ragamalika, Teental.
‘Chodo Chodo Bihari’ that was presented later was a composition Pt.Birju Maharaj wrote and rendered. This being dance presented to pre-recorded music Achyutha matched her dance to the music. The underlying emotion is a Gopika feeling a bit concerned for Krishna who was looking at her mischievously.
The end number was most famous Tarana, a composition of Sitar maestro Pt.Ravi Shankar.
This was more a Nritta and Nritya number racing through different modes that were translated into impressive dance structures by Achyutha Manasa.
