BANGALORE: The bamboo flute is an elaborate metaphor associated with god Krishna. The literature about Krishna's flute embodies many philosophical ideals: the quest for self-knowledge, personal growth and enlightenment, the pursuit of wisdom, the cultivation of the questioning spirit and the need to find balance and moderation. The flute has been a beloved subject of poets and philosophers and artists. If musicians sing the glory of the flute, dancers build the spectacle of their productions around it.
The perceived naughtiness of Krishna adds to the greatness of the instrument. Time and again attempts have been made to restore the tale to its profound philosophical roots, re-contextualise its mythical settings and refocus its enchantment and enlightenment. Its rich mythology allows us to do so.
One was transported into the world of the flute when five seasoned dancers unfolded the theme in solo performances on Sunday at the JSS auditorium during an extravaganza of music and dance under the title of Kalaarnava, led by veteran flautist H S Venugopal.
Abhinaya Venu was a confluence of melodious music, flawless dance and wonderful impact. It was noteworthy to see flautists Vivek Krishna, Shaktidhar, Karthik Sathvalli and Mahesh Swamy taking the lead in the visualisation of the themes. Needless to say, vocalist D S Srivatsa impressed the audience with his rich, resonant and soulful singing.
Neat and tidy
Bharatantaya expert Aranya Vivek interpreted a Kannada poem written by popular percussionist D V Prasanna Kumar. O, bidare ninnanu nee needaballeya, was all about the bamboo instrument being personified. The jealous Gopikas realise that it is not merely a bamboo instrument but also the life and breath of Krishna. Various nuances of the sahitya and bhaava were artistically captured by Aranya in her neat and tidy abhinaya. The nritta interludes were effective.
Intimate abhinaya
Young Rohini Prabhath in her Kathak style was an involved self. A Hindi composition Vamshi Shyam bina was a dialogue between the flute and the dancer. Krishna without his flute? Hard to imagine. But on seeing Krishna without the flute, the dancer wants to know the reason for it. Did it slip away from his lips during the Kaalinga mardana (killing of the serpent Kaalinga) or did he keep it aside while lifting the Govardhana mountain? Whatever it may be, it is always good to see Krishna and the flute together. The sound of the flute should echo from all sides. This is what Rohini expressed through her intimate abhinaya. which established an immediate rapport with the rasikas.
Powerful nritta
The familiar Tamil composition Kolaloodum azhaga Kanna depicts a Gopika envying the flute. She asks the flute about the missing Krishna. Though the item was brisk, a praiseworthy grace and finesse characterised Radhika Ramanujam’s Bharatanatya. Both nritta and abhinaya had their high point in Lalgudi Jayaraman’s famous varna set to Charukeshi raga, Koloodum azhaga Krishna portraying Krishna as the charmer with the flute, and a Hindi composition Ree Murali (raga Bagesri) winsomely translated into the dance idiom. The powerful nritta had an abundant representation.
Radhika Ramanujam explored the niceties of varying moods and won deserving applause. Her delightfully effortless rhythmic interaction and abhinaya emphasised her subtle artistry.
Improvising command
A beautifully dressed Radha wishes to meet her Krishna. Finding him absorbed in his flute, she distances him from the flute. The whole world comes to a standstill. A state of confusion and disorder fills the air. The Gopika perceives the damage caused. She returns the flute to Krishna to bring back normalcy all around.
These ideas were delineated by Pooja Bhat in the Kathak medium. She surprised and gratified lovers of dance by picturising the intense relationship between Krishna and the flute using the accompaniment of a live flute and a tabla. Pooja’s abhinaya highlighted the lyrics of the composition. She made it more beautiful with relevant nritta filled with chakkars, tihayis, and tatkaaraas. The liquid flow and ease in her nritta with its changing accents in footwork and her improvisatory command turned rhythm into poetic melody, with not the slightest hint of exhibitionism.
Feel for lyrics
Experienced Bharatanatya artiste Ramaa Ramanan and her theme were a class apart. Acharya Vallabhacharya's famous Madhuraashtakam is an inch-by-inch eulogy of Krishna's charm and magnificence. He says the very persona of Krishna, his belongings and activities are endearing. The talented flautist Mahesh Swamy made it more fascinating with his appealing music. The Madhuraashtaka was contextualised in three phases of Krishna's life. Accordingly the sweetness of Child Krishna, Youthful Krishna and Krishna as the Supreme Godhead was re-created.
The dialogue between dance and flute was good. The exquisiteness of Moahana raga was shown to the maximum extent. Besides Mohana, Hindola, Valachi and other ragas became memorable. Covering the entire stage, Ramaa's satwikaabhinaya was at its best. The feel for the lyrics and the bhaava stood out. The nritta segment was also taken good care of. The complex Bharatanatya vocabulary and taut laya added to the overall impact. Srivatsa's singing wove a winning web of melody.
Along with Srivatsa, Lingaraju, V R Chandrasekhar (mridangas) and Gurumurthy Vaidya (tabla) were the other accompanists who extended a lively and useful support.