A blend of styles
AMBILI RAMNATH
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`Shakti' was a seamless fusion of dance and music of different regions in India.
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A KALEIDOSCOPE: `Shakti' highlighted the universality of different art forms. PHOTOS: S. GOPAKUMAR
`Shakti' saw the beautiful blend of the northern, southern and western styles of dance and music into a seamless whole.
" Inspite of the apparent diversity of the origin and styles of these art forms, there is a basic universality that flows through them. And that comes from the rhythm of the heart, the rhythm of love. When such a merger happens, energy is created. That is Shakti," explains Soorya Krishnamoorthy who conceived and directed the event.
The show opened with a tribute performed by `Samudra' to Surya, the Sun God, the source of all energy. What followed was a creative burst of free expression, of adaptability and improvisation, which again underscored the theme of universality.
`Trisakhti,' a music fusion group, brought together the top talents of the day and saw the layam of the three shaktis of bhava, raga and tala. `Mahaganapathim' in Natta, was the opening piece of this ensemble in which instruments, both eastern and western, were played. The magic of the music of Krishna's flute was the theme of the next segment. A slickly choreographed and neatly executed Bharatanatyam piece by the 14-member troupe from Regatta Dance School accompanied `Kuzhlooti manamellam,' sung mellifluously by Kavalam Sreekumar. Echoing the same theme in Hindustani style was M. Jayachandran with `Savaro teri murali' to which Swati Sinha and a group from Delhi danced in the Kathak style.
The adaptability of the various disciplines was brilliantly brought out by the kaleidoscopic presentations that followed. If `Twinkle, twinkle little star' is an English nursery rhyme, the same tune could be very much at home in the Malayalam `Kaakke, kaakke koodevide.' `Naada bindu' in the Carnatic raga Chenchurutti sounds delightful as well in the popular number `En veetu thottathil' from the Tamil movie `Gentleman.'
Margam kali with its distinct Christian flavour seemed quite right when accompanied by the percussion of the thavil. The colourful visual panorama presented by the 18-member Chavittu natakam troupe proved that this art form with its Roman roots has gained popularity in Kerala.
Music and the body
Shobana and her students from her dance school `Kalarpana' performed an exuberant number in Bharatanatyam style. Set to pre-recorded music by the violin duo Ganesh-Kumaresh, this piece brought out the intrinsic relationship between music and musicality of the body. But what stood out was the picture she portrayed of contemporary India through A.R. Rehman's `Vande Mataram.'
This proves that a thorough knowledge of the classical forms gives one the confidence and the freedom of expression to transform the traditional to the contemporary.
Laxmi Gopalaswamy was the other star dancer. She led the number in which Kathak, Bharatanatyam and contemporary artistes danced to the tune of Swati Tirunal's `Jamuna kinaare' and Jaydev's ashtapadi, `Rathi sukha saare.'
The raga Kaapi with its Hindustani overtones is one that has lent itself wholeheartedly to the Carnatic music scenario. M. Jayachandran, Sreekumar, G. Venugopal and Manjari took turns in singing the medley of songs in Kaapi. Ranging from `Enna thavam cheytane,' `Jagadhodharana,' `Intha soukhyamani,' to filmi numbers `Kaathal rojave, ' `Sanyasini nin,' and `Surmayi akhiyon ne,' it created the mood of love and devotion, which this raga is evocative of.
The skilful music direction by M. Jayachandran contributed to the success of this programme.
`Shakti' stood out for the flawless perfection and clockwork precision with which it was executed. If only the stage was bigger and wider, the impact would have been spectacular. The programme was in connection with Canara Bank's centenary celebrations.
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