Divine Rhythms and Dance Grace Ramanavami Celebrations at Ramalayam
Ramanavami at Ramalayam, Jubilee Hills was celebrated with Carnatic vocal and classical dance performances. The stage was gaily bedecked with clusters of marigolds and floral arches, signifying the festive mood of the Sita Rama Kalyanam festivities.
The opening Carnatic vocal concert was by Dr. Sindhuja, who is also a Kuchipudi danseuse. She returned to the stage after a hiatus of several years. As the audience settled in, her mellifluous voice in Bowli raagam enunciated the Tyagaraja composition “Melukovayya” as the opening piece. Lord Sri Rama, united with the excellent Sita, is beseeched to wake up in the early morning as dawn breaks. The celestials are waiting to render their services as the lamps slowly fade. The Lord of the Devas, Indra, is eager to worship Rama, who is praised by Tyagaraja.
The majestic Pancharatna Krithi “Sadhinchene” in Arabhi was lucidly rendered, replete with the poet’s verses of divine inspiration. The mischief of Lord Krishna, who smiled at the innocence of his devotees unable to fathom his divinity, was effectively portrayed. The rapid velocity of the gem-like description of the Lord in the penultimate phrases was well brought out.
Dikshitar’s “Ramachandram” followed. “Paluke Bangaramayene” in Anandabhairavi was sweet, imbued with the nectar of Ramadasu’s bhakti. “Telisi Ramachintana” was delivered in a metallic timbre as the raga Poornachandrika unfolded. The evergreen and popular “Sita Kalyana Vaibhogame” in Kuranji fittingly concluded the concert, as the divine couple’s marriage was presented vividly. Sreehari on Mridangam and Shanmukha on Violin gave excellent orchestral support.
Next, Shankarananda Kalakshetra presented the Swati Tirunal item “Bhavayami Raghuramam” in Ragamalika. The choreography in Bharatanatyam by Padma Shri Dr. Ananda Shankar Jayant was exquisitely delineated by her students. In Sanskrit, it traces the highlights of the Ramayana in seven raagas. The condensed compactness of the piece was studded with brilliant depictions, like jewels in a bracelet of devotion. The crystalline clarity of gesture in every movement was mesmerising. The green, gold, and red aharya was iridescent.
The energy and vibrancy of the dancers’ nritta reached astonishing heights as they performed with amazing swiftness and precision. As the Swayamvaram took place, it was exhilarating to see the range of characterisations of the assembled kings vying for Sita’s hand. Some were awestruck by Ravana’s arrival, others sneered, a few remained calm, and many jeered at his failure—then cringed, lest he wreak his baffled wrath upon them! A myriad galaxy of expressions was shown with startling and ingenious fidelity.
Avani was a winsome Sita, garlanding Rama after his success. Jeshitha as Manthara was the crooked hunchback to perfection. Her evil countenance and wiles were masterfully convincing in angika and mukha abhinaya. One could almost glimpse the staff in her hand, supporting her aged and withered frame.
The episode of the brothers with Sita leaving for the forest, crossing the Sarayu River with the assistance of Shivani (aptly as Guha), was decoratively depicted. The artistes, as rowers, deftly moved the boat through the waves, exerting movement against the water’s resistance. Ridhishri added grace and fierceness to Lakshmana as he mutilated Surpanakha—whose pouting, imploring, and ranting role was a marvel of abhinaya by Srividya. Her grimaces were ultra-realistic as the frustrated demoness.
The idyllic scene of Rama’s tender glances at Sita, beautifully shown by Neha and Avani, was rudely disturbed and avenged. Jeshitha was also the frolicking golden deer, doomed to a swift end, luring the brothers astray, as Ravana—played imposingly by Sreenidhi—abducted Sita.
Neha stole the show with her sublime elegance as Rama when he slew Ravana in great wrath, using divine astras. Her stern countenance radiated idealised dignity, presenting this side of Maryada Purushottam as conceived by her Guru. “Sri Ramachandra Kripalu”, the haunting melody of Tulsidas, was choreographed entirely by the students to great success.
The final Bharatanatyam recital was by the young dancers of Shivansh School of Arts. Guru Maithri Rao’s students acquitted themselves well in a pleasing variety of colourful costumes. “Bhagyada Lakshmi” was a catchily tuneful composition, with diverse statuesque poses highlighting the dual nature of Goddess Lakshmi—both bountiful and fickle. Some excerpts from a varnam on Lord Krishna were soulfully picturised. The mangalam brought the curtain down, finishing the evening’s program to well-deserved applause.