Choreographing classical dance is nothing but creating dance. It is a great and separate skill indeed. It is more than composing a dance. In the olden days, nattuvanars perhaps never thought of it that way. They seemed to be content with composing dance, inserting and interpreting hasta and pada abhinaya. A wider concept of dance presentation with proper management of space, auditorium, ambience, props, backdrop, artistic direction of music, sets, lights, colour and so many other things make dance choreography a wholesome skill. Thus, it is not just depiction of a pada word-to-word but about comprehensive treatment.
The complete colourful imagery that a successful dance choreographer tries to create materialises in a very subjective and personal interpretation of ideas. The legendary Uday Shankar and, later on, Rukmini Devi are pioneers of classical dance choreography, in its wider sense.
In Bharatanatyam, all varieties of emotions are expressed through eyes, face, limbs and through every part of the body. According to the demands of varied emotions, these are used and the level of their usage is determined by the choreography. A few emotions are expressed wonderfully by using angikas only. Nritta (pure technique) and abhinaya (mime or expression) are the most important elements of Bharatanatya. Its nritta comprises intricate rhythmic footwork that includes strikes, extensions, jumps and leaps, plus the complicated patterns made by the hands and arms, all stemming from an extended, dynamic torso. In this way, it is noteworthy that the dancer’s whole body becomes geometry in motion.
Bharatanatyam is bhakti and shringara oriented and has intimate connections with Indian mythology and culture. Carnatic music has been its live wire. The combinations and subtleties of the movements and themes, their close connections with Carnatic music generate a rare union of complexity and accessibility, in Bharatanatya sensibilities, leading to the creation of dance of great beauty.
Skillful choreography
A senior-most disciple of guru Lalitha Srinivasan and a seasoned dancer, musician, choreographer Suma Krishnamurthy reveled in her dance choreography which encompassed all the above aspects and did her guru proud. She did a good job of choreographing marga items which have been recorded on her recently released CD called Natya Sakhi. The senior disciples of guru Lalitha Srinivasan presented them at Khimcha auditorium, Bharatiya Vidya Bhavan, on last Saturday. The music direction by Suma’s violinist-husband T S Krishnamurthy was apt. The dance segments were enjoyable and were handled skillfully by Lathitha’s students. The evening’s programme opened with a rendition of Angikam bhuvanam. Young Nikhita, who did her rangapravesha recently, gave an excellent account of her talent and artistry by presenting Pushpanjali followed by Ashta Dikpaalaka dhyana shloka, Shiva stuti et al. Seasoned dancers Prashanth Sastry and his wife Sunitha Sastry rendered Hamsadhwani jathiswara, demonstrating a praiseworthy understanding, synchronisation and rhythmic hold. The melkaala jathis were done with ease by the couple. Thanks to Suma’s choreography, the talent, technique and artistry of Bharatanatyam had a delightful confluence.
Delightful duo
Sahana Dasharathi and Srividya teamed up well to elaborate a Kannada varna (Neela megha Shyama Sundarana kare taare in Ragamalika and adi tala). It was about a virahothkhantitha nayaki who pleads with her sakhi to fetch her Lord Krishna. The high-strung choreography bound them together. Usage of ragas like Shuddha Saveri, Kaanada, Mohana, Kapi, Saveri and others were appropriate to the moods of the song. The nritta, nrithya and abhinaya had a balanced representation and Sahana, in particular, drew special attention of the rasikas. Sunitha Sastry’s enactment of a vasika sajjika nayaki on the basis of Kalyani javali was profound. Sahana, Srividya, Nikhila, Sindhoora and Maanasi brought the curtains down with their crisp delineation of a tillana in Revathi raga.
Glistening movements
A prolific guru, Nagabhushan deserves to be commended for his artistic direction which made his student Praanjala’s Bharatanatya held at Ravindra Kalakshetra on Thursday, a taut performance, energetic movements and grounded in its classical grammar and vocabulary. Her neatly etched movement lines with a well-balanced body easily translated Guru Nagabhushan’s choreographic ideas.
Accompanied ably by the Guru himself on nattuvanga, the musical ensemble had Tandavamurthy, Nagaraj, Shankararaman, Purushottam and Vivek Krishna on violin, mridanga, veena, morsing and flute, respectively.
The traditional Pushpanjali was followed by a salutation to Gajavadana (Hamsadhwani), the elephant-headed God. Praanjala etched varied forms of the Goddess on the basis of popular Mohanakalyani krithi Bhuvaneshwariya. Technical precision and geometric skill abounded, as the Bhairavi varna unfolded, addressing Lord Krishna. The three divisions of the varna -- nritta, nrithya and abhinaya -- were done with joy and abandon. Her abhinaya skills were fully on view in the rendition of a Purandaradasa pada (ragamalika) and a gem of a krithi by Muthuswamy Dikshitar in Madhyamavathi raga (Pannagashayana) extolling Lord Vishnu. The dance came to a close with a Dhanasri tillana which was marked by varied adavus, rechikas and teermanas.
Melodious finale
The concluding session of Haridasa Sambhrama-2013, held on Sunday at Sri Kannika Parameshwari Temple, under the aegis of Nadajyothi Sri Thyagara-jaswamy Bhajana Sabha, began with a scholarly vocal recital by Tirumale Srinivas supported by C Ramesh (vocal) and party. He beautified the Abhogi composition (Anubhavisi) with swaras. Kaanadihudake kannadi eke (Kaanada) and Dehadolagina devaru (Anandabhairavi) were full of emotions. The Charukeshi alapana was short and sweet. He concluded with Innenu innenu (Nadanamakriya).
Seasoned singer Vani Satish sang padas by different Haridasas in a lovely manner. Mareyadiru (Kanakadasa, Behag), Antarangadali (Mohana), Kelanohari (Poorvikalyani), Ele mana (Salagabhairavi) and Manava-shodhisabeku (Shubhap-antuvarali) had a fine diction and left sweet memories behind. Mysore Satish(violin) and Renukaprasad (mridanga) were the accompanists.
Veteran singer M S Sheela led her group of students in the Goshti gayana of Purandaradasa’s Navarathnamalika krithis.