Stage Became a Canvas of classical dance forms – Kuchipudi & Bharatanatyam
NIFT alumni Sravya Subramanyam and Sahitya Ramkumar who’s pursuing C.A. bond over their passion for dance. They bring to stage Kuchipudi & Bharatanatyam performing to items that give ample scope for nartanam & abhinaya
writes Anna Rao
The Arohana and The MaMa Margam
The pleasantly charming venue of Saptaparni witnessed exhilarating dual kuchipudi and bharatanatyam programs on Saturday evening.The kuchipudi artiste was Sravya Subramanyam who is a NIFT alumni who went on to do a masters in performing arts. Bharatanatyam dancer Sahitya Ramkumar is pursuing C.A. as well as doing her masters degree with Silicon Andhra University. Both the dancers have presented their art forms to considerable appreciation at various venues in Hyderabad and other Cities and this chance of seeing them together presenting their solo performances respectively titled “Arohana” and “MaMa Margam” at the same amphitheatre was eagerly sought after by many in this ticketed program. There was a minimal decor added to the stage with the focus being all on the dancers; in keeping with the minimalistic theme a small but elegant image of Lord Nataraja the God of Dance garlanded with white blossoms shed the blessings of divine radiance. The hemispherical proscenium gave an intimate atmosphere.
A Power Packed Performance
Sravya opened with a power packed item on Lord Vighneshwara, “Ananda Nartana Ganapatim”. She vigorously depicted his dance as with extraordinary speed she covered the stage in all directions, bringing before us the very image of the Elephant headed God vast in bulk yet moving with immense rapidity. His nartanam was complemented by an orchestral host and Singers who were also vividly shown by the dancer doing their musical tasks in the background providing support to the God. Sahitya chose an abhang which contained an almost frenzied outpouring of devotion.The bliss and ecstasy of devotional bhakti pervaded Marathi abhang by Sant Namdev “Vitthale Bhakta Jana Vatsale”. Here the Lord himself descended in the pleasant notion of dancing with his enraptured Bhakt who forgets himself at the sight of his dream come true.The cream Scarf draped around her neck was in contrast to the rust coloured costume and she perfectly mimed the accompanying Cymbals her hands moving in a blur of motion to match her feet as the dance bhajan peaked out in a crescendo to end in humble prostration at the feet of Panduranga after beautiful descriptions of the Lord in his entrancing attire and his ability to succour the thirst of his beseeching Devotees. A fitting moment of absolute surrender to the Lord in supplication giving closure.
The Diverse Dance Repertoire
Lyrical tarangams composed by Sage Narayana Teertha are a staple in kuchipudi. Sravya’s skill in executing jathis while balancing on the rim of a Brass Plate as well as being able to move it in complex patterns on the surface of the stage held the audience’s attention. The mischief done by Krishna,his dancing on the Snake and his grace given to all as he grows up is the theme. The soaring magnificent verses of Raja Rajeshwari Ashtakam preceded by Lalitha Sahasranamam dedicated to the glorious form of Devi was superb. Sahitya’s face was turned to the back of the stage as bathed in crimson light she indicated with just angika abhinaya the various forms of the Goddess like a series of three dimensional sculptures. She went on to depict the forms of the divine mother and her exploits in all splendour.
The Enchanting Language of Dance
Abhinaya was in the forefront as Sravya chose the javali “Cheliyaro Nenemi” and Sahitya the lullaby “Omana Thingal”. The consort of Shiva is teased by her Sakhis to reveal the name of her beloved.However while admitting her lovelorn state Parvati is filled with shyness to disclose the name of the God who has captured her heart. Sravya was perfect as her plastic mukhabhinaya rendered the states of being overcome with desire for her Lord as well as hesitancy in revealing her secret battled together and a confused state of anxiously concealing but also revealing expectation prevailed. Sahitya very realistically lulled an infant to sleep in her arms on a darkened stage with shaded lighting, praising it with many colourful descriptions of precious objects and gently rocking the baby to sleep, her movements slowly diminishing till they became imperceptible, it almost seemed as though the baby was present and finally slept and the spectators too were silently watching, hesitant to disturb the calm and peaceful scene of mother and child as the dancer gestured to them not to make any noise lest it awake!
Bringing Out an Ornate Filigree
The novel thillana presented by Sravya with fast paced footwork bringing out an ornate filigree was a composition of DSV Sastry on Lord Venkateswara.Sprightly done in surati raga containing mostly nritta the lyrics described him as Rama, Krishna and Srinivasa. Sahitya was brisk in the rhythmic patterns and picturised a strutting peacock flapping its wings bringing it to life in her thillana on Lord Subramaniam, consort of Valli whose Vahana it is.
