Spectacular Dasara lights up Mysore
A stone chariot tableau of the Vijaya Vittal temple, Hampi.
THIS YEAR'S Mysore Navaratri Festival concluded recently at the Banni Mantap open air theatre with the exhilarating Torch Light Parade (Panjina Kavayithu). There was tremendous response to the spectacular fire works and the Parade (Panjina Kavayithu) which has special significance to Mysore Navaratri Festival from the time of the erstwhile Wodeyar dynasty.
Those days, there was no electricity and the Banni Mantap area used to be lit by oil-fed firearms. Hence the name of the parade (Panju means oil-fed firearms and Kavayithu means parade). The royal procession used to end at this point. After the customary worship by the crown prince, the return procession used to reach the palace late in the night. (The return procession has been dispensed with now). The artistry of "Laser Beam Show and Laser graphics" was fabulous and action-packed. The traditional folk dances, replaced by fusion dance and "Dollu Kunitha" by amateur artistes, were insipid. The remarkable "Show jump" performances on horse back by Mariba Shetty and group were breathtaking. The configuration of the words `Welcome,' `Jai Karnataka,' `Happy Dasara,' `Thank you' and `Jai Hind' by the firearms group in white uniform was inexplicable art-nouveau.
The sculptural magnificence of the stone chariot tableau of the Vijaya Vittal temple, Hampi (constructed during the 15th century Vijayanagara Empire) was the main focus of the "Jambu Savari" (Royal Procession).
"Yuva Dasara" held at the open-air theatre of Manasa Gangothri University campus of Mysore came as an exciting entertainment to the youth and the student community. Some performances were like black spots to the pleasant memories of the festival. Colourful, traditional folk dances from other states deserved better stage and audience. The `Vintage Cars' exhibition at the Palace complex was a feather in the cap. Several models of 19th and early 20th century came as reminiscences of the transport system that prevailed at that time.
But `The Heritage Safari Walk' organised for the tourists around the Heritage buildings of the city and its celebrated streets could not find much response.
Care was taken to avoid monotony among the various cultural programmes organised at the different venues. Classical music and dance performances were confined to Main Palace, Jaganmohan Palace and Kalamandira and plays were staged at the Bhoomi Geethe auditorium of Rangayana. Pt. Bhimsen Joshi (Hindutani) disappointed music lovers during the `alaap' of raag Yaman Kalyan. Aging and lack of consistency in maintaining the melody were obvious.
Folk dance from West Bengal.
R. K. Srikantan's concert the following day was ecstatic with well-articulated magnificence of the raga bhava of Kokilapriya, Natakuranji and Abheri. Unfortunately, the rains led to an abrupt closure of the sublime raga, Bilahari. Budding artistes of the Mysore-based Bharatanatyam Artistes Association gave an inspiring dance feature at Kalamandira. Trained under the tradition of Kalakshetra by Prof. Uma Rao of Sri Lalithakala Academy Foundation, the expertise in `nrutta-nrutya-natya' were delectable.
Innovative choreography of the Karnataka State Song, "Jayabharatha Jananiya Thanujathe" in ragamalika was a notable part of the performance but for the inadequate `sanchari' in exploring the imaginations of the poet in `charana' sahitya. A varnam in Todi ("Roopamu Chusi") and "Om Namo Mahishasura Mardhini" in ragamalike on Chamundeswari were graceful in abhinaya. A tillana in raga Hindolam on Kamakshi, the presiding deity of Kanchipuram, was well thought out for the festival. The Mohiniattam group feature by artistes from Thiruvananthapuram under the aegis of inter-state cultural exchange programme sponsored by South Zone Cultural Centre, Thanjavur, was captivating.
Precision in mudras and angaharas were sprightly. Pandatam (ragamalika) on Astalakshmi and depiction of navarasa (nine sentiments) in the composition on Lord Siva were eloquent. Among the folk dances sponsored by South Central Zone Cultural Centre, Nagpur, the traditional composition on Mahakali from the Telangana region of Andhra Pradesh with colourful costume was rhythmical and efficacious. Efforts to rejuvenate Mysore Dasara Cultural Festival heritage brought fairly good results this year as seen from the influx of tourists.
B. S. S. RAO
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