Nrithyopahara Captivates at Ramalayam Dussehra Dance Festival
The crown jewel of performances at the Ramalayam Dussehra Dance Festival was the spectacular Bharatanatyam recital “Nrithyopahara” by the students of Shankarananda Kalakshetra. Under the exacting guidance of Padmashri Dr Ananda Shankar Jayant, ably supported by her senior student Ms. Khaja Neeraja, these students have been trained to an unequalled level of rigor and precision. They have also been encouraged to grow by creating their own original choreography, honing their skills in this demanding art form.
The six students who participated were Shreenidhi Ramaswamy, an engineering student from BITS; Shivani Nambiar, pursuing CA; Ridhishri Yadav, an MBBS student; Khevna Reddy, doing her BA; Avani Chetluri, studying engineering; and Suhani Chatterjee, also pursuing B.Tech. The first two pieces were performed by all the young dancers together. The opening was a pushpanjali in Amritavarshini. Though short, this piece instantly became the hallmark for the rest of the program. The contrasting red and green gold-bordered aharya gave a subdued yet rich effect. The urbane sophistication displayed in the jewellery was meticulous, serving as an example worthy of emulation by other academies.
The tasteful color scheme of the costumes, paired with the chiselled precision of nritta, natya, and abhinaya, made for an unparalleled evening of rasanubhava that will not be forgotten. The simple pushpanjali, an offering of flowers to the Lord, paying respects to the Guru, orchestra, and audience, was performed with studied exactness by all the artists. Every stance and movement was executed with fidelity, and as they pivoted, knelt, or arose during the piece, there was always a sense of unruffled ease of movement, which only comes after long, dedicated, and strenuous practice sessions.
“Kanchadalayatakshi” is a composition by Muthuswami Dikshitar, known for the complex, layered esoteric meanings embedded in his sublime keertanas on Devi. Kamakshi, with her large eyes, is dear to Goddess Lakshmi. Tripura Sundari is majestic, with an elephant-like gait and feet adorned with gems. Lotus-eyed and spotless, she destroys all afflictions. With a radiant face, she protects Cupid and speaks enchantingly with a gently loving smile. Shankari, the bestower of prosperity, illuminates her abode. Every attribute of Devi was dazzlingly brought out in entrancing poses. This item was entirely choreographed by the students, demonstrating their high level of prowess.
Gopala Krishna Bharathi’s “Natanamadinar,” performed by Khevna, Avani, and Suhani, featured some gravity-defying poses. As Shiva’s cosmic dance unfolds, the salvation-bestowing ananda tandava makes the Earth tremble. Ganga sprinkles her holy waters on his locks, intertwined with swaying serpents. The fans in the costumes unfurled, stretching out in a brilliant array, creating a visually stunning effect as the students balanced themselves with startling poise.
The traditional Kaavadi Chindu, “Killi Kanni,” was performed by Ridhishri. It has a lilting, humming melody as the heroine confides in her pet parrot that her emotional state is completely engrossed in Lord Muruga. Her body melts upon hearing his name, and she starts writing a letter to him, who dwells on the hills. Ridhishri shone as she twirled and pranced, her energy surpassing and infectious, delighting the audience!
Shreenidhi successfully essayed a more serene piece, “Ithade Parabrahma,” which effortlessly captured in lucid verses the compact story of Rama through many episodes, culminating in Lord Venkateswara residing in his present abode of Tirumala. “Alarulu Kuriyaga” was presented by Khevna. This shringara keertana describes the love between the divine couple Alamelumanga and Srinivasa. Amorous and romantic adventures akin to human love were befittingly portrayed by Khevna’s composed control of abhinaya. The Goddess dances behind a translucent screen, and the flowers in her tresses fall. Ankle bells tap myriad tunes as she dances for her beloved.
“Shivoham” was a fantastic piece, performed with a speed and symmetry beyond belief by Shivani and Shreenidhi, dancing in mirrored synchronicity, inches from each other, as they represented Shiva and Shakti together as Ardhanarishvara. Infinitely subtle, swaying head movements of Shakti exquisitely accentuated her feminine character. The fervor-laden poetry, depicted through rolling waves of resonance, symbolized the cosmic cycle of creation and destruction. The in-house orchestra consisted of vocals by Neha Sathanapalli, nattuvangam by Archita Bhat, mridangam by Srividya Sripathi, and violin by Harinee, all of whom gave their best to make the program a grand success.