Nuanced performance
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The Manipuri dance by Darshana Javeri 's stood out for its rhythmic excellence
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FASCINATING The Manipuri dancers were striking with their intricate rhythm patterns
A captivating aharya — rhythmic excellence — and steeped in tradition marked the Manipuri dance recital by Dr. Darshana Javeri and her disciples at the Vasudevacharya Bhavana, organised under the aegis of the Sri Nadabrahma Sangeetha Sabha, Mysore.
Dr. Darshana has learnt the special characteristics and traditional techniques of this art form at her Manipuri Nrutyala under Guru Bipin Singh of Manipur Dance Repertory.
The Goudiya Vaishnava cult and the episodes from Bhagavatha relating to Krishna's life are the principal themes of Manipuri dance. The notable aspect of the evening's performance was Pung Challong (drum dance) by the male artistes and the fascinating rhythmical excellence of intricate talagaties in sanchari. Dr. Javeri's Krishna Stuti brought back memories of her performances with her sisters.
Impressive nrutta and gracious charies in Vasantha Ras by her disciples Anasuya, Gnaneswari, Elena and Dhanapyari were effective in communicating the nuances of Manipuri dance. The artistic and colourful aharya lent good impetus to the show. Nayaka-nayika bedhas depicting the Navarasabhinaya in Malini-Radha by Dr. Javeri, the metaphoric theme of Jeevatma-Paramatma in the Radha-Krishna feature, and Uadkad Ras, performed by her disciples were exhilarating, exhibiting harmonious spiral movements and striking gestures of the hand.
Atashi Chatarji on the vocals accompanied by Jayanth Chatarji on flute and Brojansingh on Pung (percussion) lent exemplary coherence.
Remembering a legend
Muthuswamy Dikshitar's compositions with their intricate swaralankaras and talagaties have a unique place in Carnatic music. His impeccable sahitya set to well-chosen ragas make for sublime music. Rajasri Srikanth's vocal concert at the Veene Seshanna Bhavan, Mysore, on Dikshitar's Day had some fine compositions of this great vaggeyakara of the century and the youngest of the trinity of Carnatic music.
Blessed with a well-nurtured tonal melody and knowledge imparted by her guru and mentor, veena vidhushi M.K. Saraswati, Rajasri enthralled listeners with her raga-bhava and swarakalpana. The alapana of ragas Brindavana-Saranga ("Rangapura Vihara") and Poorvikalyani ("Meenakshime Mudamdehi") were well articulated with neraval and appropriate charana-sahitya. The swara-kalpana in roopaka tala in "Rangapuravihara" was well-presented.
Her melody and artistry in tara-stayi sanchari was far ahead of others. Beginning with raga Bilahari ("Ekadantham Bajeham" in succession to sloka "Pranamya Shirasa Devam"), followed by "Shankaram-Abhirami-Manoharam" (Manohari), "Chandrasekaram Sada Bhajeham" (Marga Hindolam), and "Mayura natham" in Dhanyasi (misra chapu) were rendered with involvement. The artiste, who is completely dedicated to music, has opened a school of music at her present home in Brisbane, Australia.
Veena Suresh on the violin and Ravishankar on the mridanga lent adequate support.
B.S.S. RAO
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