A vibrant garland was strung collectively, emanating the perfume of devotion to Saint Tyagaraja on Pushya Bahula Panchami day. It has been 25 years since Kala Pradarshini began its annual dedication to cherish the timeless classical compositions of Saint Tyagaraja.
On this aradhana hosted by Parvathi Ravi Ghantasala, inventive director of Kala Pradarshini, 20 college students introduced Tyagaraja kritis by means of dance.
The occasion started on a customary be aware with an invocation to Ganesha in ‘Sri Ganapatini’ in ragam Saurashtram by Manasa Vijay Chander and Gowthami Ashok, disciples of Radhika Shurajit. Easy, easy choreography with brisk footwork and detailing of puja rituals was reproduced by the dancers. This piece was distinctive as others centered on Rama and Vishnu.
Smriti Krishnamurthy, Anjali Hariharan and Nutana Nair, disciples of Anitha Guha, danced to ‘Nagumomu’ in Abheri. Picturesque depiction of Gajendra moksham, Garuda vahana, Govardhana giridhari and the top pose of Rama and Sita with Tyagaraja on the ft was spectacular. The faultless araimandi was noteworthy.
Deepanjali Suresh, Janani and Malarvizhi, disciples of Binesh Mahadevan, carried out ‘Ksheerasagara sayana’ in Devagandhari. The dancer who carried out the ocean curiously reworked into Vishnu for Gajendra moksham. Draupati vastraharan and the portrayal of Garudan and Vishnu reclining added to the visible dimension.
College students of Kala Pradarshini introduced ‘Srirama Srirama’
‘Brochevarevare’ was a solo presentation by Sneha, who executed the jatis and the swaras with skilled ease. The tip pose of Rama in his attribute stature was interesting. It was a possibility to choreograph many fascinating kritis. On the music group had been Nandini Anand (vocal), M. Dhananjayan (mridangam) and Vishvesh (violin).
Within the second section of the aradhana, Parvathi’s disciples Gayatri, Vallabhi and Tejaswini introduced ‘Srirama Srirama’ in Sahana. The piece was an fascinating mixture of brisk swaras and fast-forward flashes of Ramayana scenes like Sita Kalyanam, Bharata receiving paduka, and so forth., proper as much as Rama Pattabishekam — all in capsule type.
Saswati, disciple of Mahalakshmi Ashwin, introduced ‘Sri Raghuvara.’ Her footwork was notable and he or she portrayed the scenes of Rama breaking the bow and Sitaharan successfully. A spirited duet by D. Dileep and Daphni Rajavel, disciples of Sailaja, got here subsequent, with mercurial actions marking ‘Balakanakamaya’. Contrasting in temper and content material was ‘Nidhi Chala Sukhama’ by Rukmini Induri, disciple of Indu and Nidheesh. The non secular stand of Tyagaraja was introduced out on this solo abhinaya piece emotively sung by Nandini Anand.
A melodic ‘Pavanaja Stutipatra’ in Kurinji was a solo presentation by Ritwika; depiction of the wedding full with unjal, and so forth., was charming. The artistes of the second section had music help from Kaushik on the vocal, Haribabu on the mridangam, and R. Kalaiarasan on the violin. Final however not the least got here ‘Nanu Palimpa’ by Dr. Shahana Selvaganesh, disciple of Roja Kannan. Parur M. S. Anantashree was on vocal help.
The Mumbai-based writer
writes on music and dance.