The Confluence

Shilparamam on Sunday had two classical dance programmes. The first was a Bharatanatyam presentation by the dynamic dancing couple, Chethan Gangatkar and Chandraprabha Chethan from Karnataka, who have choreographed and produced a varied range of creative expressions in this art form.

They are proficient in Kuchipudi also including the ‘Kauthuvams’ or temple dance forms. ‘Mahaganapathim Manasa Smarami’ by Muthuswami Dikshitar in Nata Raagam was in praise of Ganapati, resplendent and calm who is worshipped by sages like Vasishta and Vamadeva, he is also described as fond of literature, with Mooshika or Mouse Vahana, etc.

This opening item had brilliantly chiselled poses. ‘Krishna Ashtotara Shata Namavali’ in Reethigowla came next. This is an elaboration of the episode in the Mahabharata where Lord Krishna removes the doubts of Arjuna on the battlefield before the war begins.

The Lord is eloquently depicted as not only the charioteer of Arjuna but effulgent as a million suns and most illustrious of the Yadu Dynasty. He, who was the lifter of Govardhana Hill and dancer on the serpent Kaliya's hood.

A Kannada Javali in Kamach by Bhavani Ramanathan describes the interaction between a wife complaining and her husband who has not kept his promise of bringing back some jewels, which was full of exquisite Abhinaya.

‘Brochevarevarura’ in Khamas by Mysore Vasudevachar gave scope for detailed presentation in vibrant footwork of Sita Swayamvara and Gajendra Moksha episodes. Both the dancers matched harmoniously.

Niranjana Nagarajan and her students next presented a Kuchipudi recital. An invocatory item by the students, Ganapati Kouthuvam in Naata Raagam started the performance.

Niranjana was elegant in the melodious Rukmini Pravesa Daruvu in Kalyani which describes the appearance of Rukmini as the calm, composed, intelligent and beautiful consort of Lord Krishna.

She is like the flute on the lips of her Lord and her heart like the wings of a bird spread out for love. The students then charmingly performed the Narayana Thirtha Tarangam in Jhinjuti, ‘Alokaye Sri Balakrishnam’ where the Lord is admired as bedecked with beautiful ornaments like golden bracelets, tinkling bells and pearl necklaces.

‘Prahlada Pattabhisheka Shabdam’ in Khamboji is the story of the demon King Hiranyakashipu who obtains boons but is ultimately slain by Narasimha, an avatar of Lord Vishnu. The demon’s son Prahlada is a great bhakta of the Lord and pacifies the fierceness of the avatar.

His coronation then takes place and he is blessed by all the Gods. This was an extremely competent execution of nimble footwork and apt expressiveness by the artiste. The students also depicted an ‘Oothukadu’ composition in ‘Chenchuruti’ on the pranks played by a mischievous prankster Krishna on the Gopikas in Brindavan.

Finally, the same composer’s ‘Kalinga Narthana’ thillana in ‘Gambhira Nattai’ describing the subjugation of the snake Kaliya by Lord Krishna compelling it to leave the river whose waters were poisoned by its presence was enthrallingly danced by Niranjana.

By Anna Rao