Hues of a festival
G.S. PAUL
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A six-day festival in Thrissur comprised performances by veterans and youngsters.
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FESTIVAL RAGAS: Lalgudi Vijayalakshmi and G.J.R. Krishnan.
The fifth edition of a cultural festival in Thrissur, organised by Thalam at Regional Theatre, comprised performances by veterans and up-and-coming artistes. Meera Das, accompanied by six disciples, presented `Batu Nrutya,' a piece in Odissi, the first day. The influence of Bandha Nrutya, a folk dance replete with folk and acrobatic elements, was discernible in Meera's choreography. The inclusion of `Urdhwa Dhanurasana' and `Veerabhadrasana' was indication of her preoccupation with yoga.
While the Pallavi in Sankarabharanam had intricate rhythm patterns, delineation of the second Ashtapadi, `Srita kamanaakucha mandala' in Kamas demonstrated Meera's histrionic talents. Specially noteworthy was the overall grace of `tribhanga' and `chouka' in this solo performance. Chanting of the Gayatri mantra created a spiritual ambience as the performance concluded with Moksha in the typical style of the dance form.
Bharatanatyam recital
Aswathy and Sreekanth.
A highlight of the Bharatanatyam recital by the dancer-couple Sreekanth and Aswathy on the second day was the depiction of Tyagaraja's famous Pancharatna kirtana, `Jagadanandakaraka' in Natta (Adi tala).
Rhythmic perfection, chiselled adavus and symbiotic movements were the outstanding features of this recital. While the choreography was remarkable, the number would have appealed more if only a few charanams were selected for the performance. While portraying a khandita nayika in the Tamil composition, `Ette irunthu' in Kapi raga (Adi tala), Aswathy's abhinaya was superb.
Kathak dancer Ashim Bandhu Bhattacharya proved himself a performer, choreographer and scholar par excellence on the same day. `Sakthi Stuthi,' an invocatory number that described the victory of good over evil, `Navachand,' a short piece in the intricate rhythm cycle of nine beats, a blend of ancient and modern Kathak styles, a duet of Radha and Krishna, and `Ghunghroo,' an autobiography of a dancer's anklet, mesmerised the audience. The portrayal of Radha's agony over her separation from Krishna was praiseworthy on account of the ingenious theatrical techniques and terpsichorean talents of Bhattacharya and Luna Pan.
Violin duet
Odissi dancer Meera Das.
A violin duet by Lalgudi G.J.R. Krishnan and Vijayalakshmi was a creative journey. Tyagaraja's only composition in Rasali raga, `Aparadhamulanorva' (Adi tala) evoked a mood of supplication. `Smarasadamanasa,' a Swati composition in Bilahari (Adi tala), and `Chintayamakanda,' a Dikshitar composition in Bhairavi (Rupaka tala), were full of melodic niceties.
Promotion of talent
A demarcating feature of the festival was the slot allotted to young artistes every day. Abhiram Unni's Carnatic concert and Salini Vijayan's Mohiniyattom performance proved promising. Fusion music was presented by Trisakti, Thiruvananthapuram, and a concert by by Anoop Shanker and party.
A scintillating performance by dancers of Kolkata Kalamandalam, under the direction of their guru Kalamandalam Thankamany, marked the finale of the six-day festival. The entire group seemed inspired, performing as they were on the occasion of the golden jubilee of their institution.
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