Visual treat
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`Gopika Geetam' was a fine presentation culminating in joyous `maha raas'.
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MYTHICAL MOOD Artistes stage `Gopika Geetam'.
It was indeed an evening with Lord Krishna as the invite claimed. Yashoda Thakore's (Rinda Saranya Kuchipudi Dance Academy) solo Krishna shabdam with the inimitable plate dance paved the way for the brief but beautiful Gopika Geetam dance drama.
Of the three solo dances by Chakrapani, Sampreeti and Yashoda, the latter was able to give us a glimpse of the real Kuchipudi style with a dash of her own grace and delicacy in movement. The only snag was her perpetual wide-eyed expression and the costume, which did not gel well to the classical tarangam-Neela megha shaheera... Chakrapani's Dasavatharam gave the right start to the Krishna theme followed by Sampreeti's Manasa Sanchrarey (a Brahmendra Saraswati compostion), which began with a couple of verses from Narayaneeyam. Though Sampreeti gave a good interpretation of the song, her dance was wanting in finesse and expression. The Gopika Geetam was a visual treat despite the dreary auditorium of Sundarayya Vignana Kendram, which is most unsuitable for a Central Sangeet Natak Academy sponsored dance drama.The dance-drama handled the delicate but divine issue of Lord Krishna and gopikas passion, which acquires higher meaning in the context of metaphysics. Simple and sweet stage setting with a tree-screen and two terracotta lamps with a moon hanging between the two made for the twilight in Brindavan.
The gopis falling into a trance at Krishna's touch, the romantic interludes with the lord, the pining for him when away were well depicted by three dancers (Yashoda, Sampreeti and Lakshmi) though a little more synchronisation was wanting in the execution of footwork. It requires specialised skill to be able to achieve perfection in group choreographies, especially in sensitive aspects like abhinaya and identical coordination of mime and song. Gopika Geetam proved to be a fine presentation , which culminated in the joyous daandiya (kolaatam) dance, the Maha Raas (Raasa kreeda).
It was a pleasure to watch the daandiya that lasted for ten minutes in step with calculated moves and accurate rhythm. The group was able to recreate the picturesque Brindavan raas leela with notes from the flute serving as the base for their dance. Sasi Jyotsna as Krishna (in spite of the mild blue paint) proved to be a vigorous dancer in keeping with the character she essayed. The manifestation of two more Krishnas (Archana and Asha) to drive home the point of the lord's omnipresence was a worthy attempt. The recorded dance drama was clear in acoustics though the nattuvangam by Vinod was at times not pronounced.
RANEE KUMAR
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