Dancing to the Flute
Krishnashtami at Jagannath Temple, Banjara Hills, was celebrated with a classical Kuchipudi dance performance. The students of Guru Dr Sindhuja presented a series of elegant and graceful items which enhanced the festive mood at the venue. The stage was set with pillars to evoke the Temple atmosphere. The performance began with Ragamalika, a bouquet of different ragas with Brahmanjali - offering salutations to the Lord of dance, Gurus and the audience.
Phanirmayee and Bhavika presented this item with the appropriate stylised flowing movements of Kuchipudi, characteristic of the dance style. Aharyam was colourful with violet and green tones contrasting and complementing the Duo’s synchronised nritta. The popular slokam Kasturi Tilakam was beautiful to behold as the Lord was lyrically described as adorned with the Kaustubha Gem, Flute and Bangles.
The abhinaya was delicately conveyed in gestures as the Gopikas anointed Krishna with sandal paste. The melody and sheer pageantry involving the interplay between the Gopikas and Krishna elucidated in the succeeding exquisite stanzas of this piece enchanted the audience.B.Chaitra entrancingly played the part of the charming young Krishna, and others included Adithri and N.Chaitra. An abstract swarapallavi in hamsadhwani with interwoven patterns dazzled with its movements for a string of notes, which are the hallmarks of this type of dance composition.
The bhakti emitting Annamacharya composition Sriman Narayana enabled the artists to ably enact the various scenes of the Poet seeking refuge at the Lord’s feet and depicting the lotus-like beauty of Lord Venkatesa of Tirumala, the consort of Lakshmi who blesses and bestows moksha to Sages.
A sprightly tillana in dhanasree by the renowned composer Maharajah Swathi Thirunal was done excellently by Bhavika, who showed the scene of the reclining Lord on the many hooded Adisesha with majestic clarity. Her poise was outstanding as the scene of Brahma being born embedded in the Lotus flower unfolded.
The last item of the evening was Sita Kalyana of Saint Thyagaraja, choreographed by Sindhuja. This Pallavi in Sankarabharanam was a glorious finale. The wedding of Rama and Sita was splendidly described; the pair of Phanirmayi and Bhavika brought before us a magical scene enfolded in the pallavi, which was vividly alive and the spectators, in rapt attention, were made to feel that they were truly participating in the function of the divine Couple being performed before them! Hanuman praises the luminous lustre of Rama as having a Sun and Moon for eyes—the one who resides in the four Vedas desired by all. With a quiver full of arrows, he is prayed to by the great Lord Shiva, protects his devotees and removes hardships. The rest of the piece contained these glorious praises, which were descriptively displayed by the talented young students in matching nritta and abhinaya, which were textured to radiate the complex layers of meaning, demonstrating the Teacher’s care and brilliance to enable the absorption of the subtle nuances of this classical Art form by her disciples.