Dancers captured the essence of temple festivals at Natyarangam’s Uthsava Bharatam

There are occasions when easy and simple narration enchantment the viewers because it was at Okay.P. Rakesh’s ‘Tirupati Brahmothsavam’. He introduced the speciality of every day of the competition.

Venkateshwara Suprabhatham adopted by the favored music ‘Brahmamokate’ with which Okay.P. Rakesh started his efficiency struck an instantaneous chord with the viewers.

The vahanas used in the course of the processions have been depicted aesthetically, particularly the coordinated snakelike motion of the 4 dancers, two because the palanquin bearers and two as sesha moorthy idols, for the procession of the Chinna Sesha vahanam, was well-conceived. Easy choreographic patterns elevated the presentation, however the dancers ought to have targeted extra on the synchrony of actions, particularly in scenes like pulling of the chariot. Sivasri Skandaprasad’s singing enhanced the visible enchantment.

Tiruvannamalai Deepam

Tiruvannamalai, one of many panchabhootha sthalams of Shiva, was explored by Medha Hari in her solo efficiency. Utilizing sollukattus and ‘Om Namah Shivaya’ chants, Medha depicted the shape and varied attributes of Shiva, transferring seamlessly between nritta and postures.

The glory of Tiruvannamalai kshetram was taken up for depiction with the story of Vishnu and Brahma going in several instructions to find the ‘Aadhi’ and ‘Antah’ of Shiva, Shiva’s curse on Brahma, and Shiva taking up the type of Arunachala hills.

Medha along with her stage presence was in a position to talk her concepts successfully. However slightly restraint would have lent depth to her natyam. Although a number of the scenes comparable to boring into the earth and flight of the fowl have been superbly visualised, repeating concepts might herald weariness. Additionally, transferring out and in of the highlight was disturbing.

The spectacle of Karthigai Deepam was included too, however the general presentation targeted extra on the kshetram than the uthsavam.

Thiruvananthapuram utsavam

Sheejith Krishna’s presentation was themed on the Panguni Uthsavam and Aippasi Uthsavam held at Sri Padmanabhaswamy temple, Tiruvananthapuram. Sheejith, who had choreographed the piece, had judiciously blended the weather of nritta and bhava, each in his solo and group displays.

For the Swati Tirunal kriti ‘Devan ki pati indra’, he portrayed Padmanabha in all his glory. As a devotee/sutradhar, Sheejith elaborated on sure rituals, and narratives to hyperlink their depiction in group formations at common intervals. His experience in abhinaya helped in speaking the concepts with readability.

The dwajarohanam, palanquins, and Arattu procession have been highlighted via varied group patterns. Somewhat extra consideration to detailing would have enhanced the manufacturing worth. The entries of group dancers within the background, at the same time as an abhinaya session was in progress, and the non-synchronised actions of the palanquin bearers disturbed the sequence.

The bhava-rich singing by Jyotishmathi added to the presentation. The orchestra members and dancers, attired in off white and gold, supplied a slice of Kerala.

Tiruchendur temple

There may be immense scope for dramatic story telling relating to Muruga, and Karuna sagari, who introduced Skanda Shashti at Tiruchendur, conceptualised a really theatre-centric manufacturing.

Starting by denoting the geographical location of the city, Karuna Sagari moved on to depict the story of Muruga and Soorapadman, that culminated within the Soorasamharam in Tiruchendur. She introduced collectively classical dance actions, martial arts, people music, and dramatic lighting to spotlight the theme.

The dance segments had just a few fascinating tableaux, heightened by swift and energetic actions. The dancers conveyed the thought impressively via well-choreographed formations, albeit a bit over-stretched.

The musical rating was an eclectic mixture of sounds.

Mysuru Dasara

The collection concluded with Mysuru Dasara competition. Parshwanath Upadhye introduced alive the celebrations via his participating portrayal. He started his efficiency with Choornika — a prayer to Atma Vilasa Ganapathy. Crammed with devotional fervour and serenity, the presentation was engrossing, and Parshwanath’s consideration to element whereas portraying the rituals was fascinating.

Muthiah Bhagavatar’s varnam ‘Sree raja mathangi chamundeshwari’ in raga Suddhadhanyasi was the piece that he selected for elaborate exploration. Parshwanath, who had choreographed the varnam, introduced it as a dialogue between a son and father, who introduces varied tales and legends to the little baby.

The duo enters the temple. The daddy rings the temple bell, and he notices his son’s enthusiasm to do the identical. So he lifts his son to expertise it. From the introductory second, the communication between the 2 was successfully portrayed by the dancer.

The varied sthala puranas, and rituals carried out for Chamundeshwari have been conveyed in a narrative telling format, however Parshwanath, taking liberties, added intensive instrumental interludes to specific completely different concepts in regards to the processions, people arts, and mela which are intrinsic a part of the Mysuru Dasara festivities.

The restraint in Parshwanth’s delineation of nritta and bhava madehis efficiency impactful.

The Chennai-based reviewer writes on classical dance.