Rasaasvada

Rasaasvada

The Nrityantar Academy of dance conducted “Rasaasvada,” a dance festival at the Seva Sadana. Nrityantar, apart from conducting training classes under the direction of Madhulitha Mohapatra, conducts dance festivals also every year.

Sreyashi Dey, Arnab Bandyopadhyay and Aditi Bandyopadhyay of “Rasa Collective” presented Anantha, the infinite. It focuses on the concepts of creation, based on the “Panchabutha” (earth, water, fire, wind and space). Based on the ancient veda and upanishads, they presented in the Odissi style, which was also lively.

Students of Nrityantar opened their Odissi recital with Pallavi in the raga Malkauns. Madhulitha Mohapatra in her solo dance chose a Ashtapadi of Jayadeva “Ramate Yamuna Pulina Vane.” Suspicious Radha imagining the flirtatious Krishna in his love play with other maidens - was a proof of Madhulitha’s abhinaya skills. Arrival of the first rain of the season by the four students in the “Varsha Avisar” was also enchanting.

Students of Rasika Dance Ensemble, opened their Bharatanatya recital with a Pushpanjali in the raga Vijayavasantam. The “Laya Kavitha” was like a “poetry in rhythm.” “Kapalinee” the dual was also pleasing. The “Laya Vinyasa” was like a “Thani avarthana” of a “Sangeetha Kucheri,” which was a proof of their good training under Kiran Subramanya and Sandhya Kiran.

Tributes to Tyagaraja

The Sadguru Sri Tyagabrahma Aradhana Kainkarya Trust had organised a special programme called “Tyagaraja Vaibhavam,” last week.

Tyagaraja’s “Rama Bhakthi” is well known and his compositions are nothing but undivided devotion to Lord Rama with infinite poetic imagination and sheer simplicity of expression. His compositions have reached all over and enriched Karnatic music. Two known vocalists presented a few compositions of Saint Tyagaraja, emphasising the lyrical beauty also apart from music.

Amritha Venkatesh’s first choice was “Sri Rama Jaya Rama” in Yadukula Kambodhi. The composer says - “Oh mind! Think of Sri Rama. How fortunate mother Kausalya should have been, to kiss the radiant cheeks of Rama!” In the “Vachamagocharame” keertana, Tyagaraja says “Rama’s prowess is beyond words,” while in the “Alakalalla,” he (Madhyamavati) describes sage Valmiki gazing on the curly forelocks gambolling on Sri Rama’s forehead.

After these compositions Amrita Venkatesh chose “Sasivadana! Bhakta Janavana” in the raga Chandrajyoti, in which “Maricha Vadha” is also explained. A brief alapana and nerval (Kanulara Sevinci) enhanced the flavour of raga (Mukhari) and the kruthi (Entani Ne Varnintunu Shabari) in which Shabari’s devotion is described. “Manasa Manasa” in Vardhani, Shobane and Pavanaja stuthi - were the other songs she presented. Amrutha Venkatesh rendered with brief details and very brief raga and swara, which suited the occasion, concentrating mostly on “Baala Kanda” of Ramayana. Charulatha Ramanujam and B S Prashanth accompanied on violin and mridanga, respectively.

Aesthetic finesse

G Ravi Kiran, a promising vocalist presented Tyagaraja’s keertanas on Kishkinda and Sundara Khandas. In the opening - “Adamodigalade” (Charukesi) keerthane Anjaneya’s first meeting with Sri Rama is explained and in the “Alagimpamemi” “Lord! you are a past master in the art of utilising the four strategic expedients of Saama, Daana, Bhedha and Danda (persuasion, temptation, separation and subjugation)” - is described in the well known keerthana “Sarasa Saamadana” in the raga Kaapi Narayani.

While explaining “Kanakana Ruchira” - Varali Pancharathna Kruthi, Ravi Kiran said, “Tyagaraja has narrated beautifully Hanuman’s description of Rama, when he met Sita Devi for the first time. He sang Varali raga which was brief and noted for its verve and the nerval (Pavamana Sutudu) was also meaningful. He concluded with another popular devotional “Thava Dasoham.” Ravi Kiran’s concert was moulded into an essay of aesthetic finesse. Charulatha Ramanujam and H S Sudhindra supported on violin and mridanga, respectively.