'Panchali' presents marvellous blend of Yakshagana and Bharatanatyam

'Panchali' presents marvellous blend of Yakshagana and Bharatanatyam

Sikkil Mala Chandrashekar playing the flute during Ramanavami celebrations organised by ‘Ramabhudaya Sabha’, in Mysore. Nalina Mohan(Violin), Jayachandra Rao(Mridanga) and M R Manjunath(Ghata) are also seen. Dh photo

The ever inspiring music of Yakshagana blended with the expressions of classical dance form with a background music of Chande and Maddale. The agony and ecstasies of Panchali unravelled with the meaningful lyrics in a matured expression of Vasundhara.

The most beautiful lady of self esteem who had to share her body and mind with five men becomes the main cause of the great war  of  Kurukshetra.

Udyavara Madhava Acharya has traced the sensitive mind of this valiant woman in his expressive lyrics. Bhagavatha Ganesh (Vocal), Krishna(maddale) and Sudheendra(chande) breathed life to it with their music.

Vasundhara makes us feel that she is a vibrant young lady with her dancing talent. Her portray of Panchali was engrossing. Bhagavatha’s Yakshagana style of singing and Vasundhara’s visual treat indeed will remain for a long period in the minds of rasikas.


The Ramanavami celebrations was held in the city with the buzzing of all the Sabhas and Sri Rama temples with music. The different venues spread all over the city help the listeners to select any musicians of their choice. 

This season too many local and outside artistes are performing for the joy of the music lovers. The ‘Ramabhudaya Sabha’ of Srirampet is celebrating its 121st year of Ramanavami.

Sikkil Mala Chandrashekar played Flute for the inaugural concert. She was accompanied by Nalina Mohan(Violin), JayachandraRao (Mridanga) and M R Manjunath(Ghata).

The artiste has received many titles and honours for her credit. She belongs to the lineage of the famous Sikkil sisters. Naturally the expectation of the audience were high.

She could have captivated the listeners with the aesthetics of sound, the various shades and combinations of this divine instrument.  But she opted to present a dozen compositions in a span of two hours. One had to get a glimpse of her creativity mostly in the kalpanaswaras than in alapana which was restricted to a few minutes of playing.

She started the recital wih ‘Maha Ganapathim’ (Mata-adi-Muthswami Dixitar) in an unhurried pace with a frill of calm kalpana swaras.

A cascade of popular Krithis pleased the common listeners. ‘Bantureethi’ (Hamsanada-Adi-Tyagaraja) again was decorated with long swara kalpana. ‘Endaro mahanubhavulu’ (Shree-adi-Tyaagaraja), ‘Bhavayami Raghuramam’ (ragamalika-Rupaka-Swathi Tirunal Maharaja), ‘Naati maata marachitivo’ (Devakriya-Adi-Tyagaraja),’Ramachandrabhavayami’ (vasantha-Rupaka-Muthuswami Dixitar), the list went on. She took up Mohana alapana that was smooth and easy going.

‘Dayarani’ of Tyagaraja followed. Audience enjoyed yet another alapana in Simhendramadhyama that was followed by ‘RamaRamagunaseema’ of Swathi Tirunal Maharaja. The swaras too were smooth giving no trouble for intelligence. Nalina Mohan hardly had any tough time. The sangathis in almost all the compositions were perfect and tailor made.

‘Krishna Nee begane baro’, ‘Bhavayeham’ and ‘Tamburi meetidava’ were pleasing and filled with bhava. Jayachandra Rao and Manjunath gave a good support.