Aural and visual poetry
HARISH BAL
|
Ashim Bandhu Bhattacharya portrays abstract themes in simple images.
|
AESTHETIC COORDINATION: Ashim Bandhu Bhattacharya, left, is a dancer and choreographer.
Ashim Bandhu Bhattacharya, who combines the subtlety and softness of the Lucknow School of Kathak and the vigour of the Jaipur gharana, has travelled a great distance from being a performer to becoming a master choreographer.
An illustrious disciple of Ram Gopal Mishra and Birju Maharaj, he portrays abstract themes in simple images. His performance for Kerala Fine Arts society was lauded for the novelty of themes, and his coordination and direction of a skilled troupe. His presentation started with an invocation to the mother goddess. `Navachanda' saw Ashim Bandhu and his disciples dance to a nine beat cycle in a composition in rag Chinchotti. Rather than going for synchronised movements, the dancers began at different intervals, and they faced different directions. Yet all these were blended together harmoniously.
Love and peace
`Anandadhwani' saw Ashim Bandhu and his chief disciple giving expression to the concept of love and peace with chants like `Asato maa sat gamaya.' The feel of tranquillity and solace that the dancers evoked with their expressions and restrained movements was truly elevating.
The main item, titled `Ghungroo,' or the anklet, was represented as the symbol of sound, which further represented the cosmos as Shiva. A dancer presented the abstract nature of this concept through `Kalaripayattu' and `Chau.'
The journey of the anklet through various eras and epochs were depicted with the help of various props. The expressive narration in Hindi and the lilting instrumental music and Sanskrit chants heightened the aura of mystique. The anklet finds divine union in the dance of the Devadasis and Meera in `Pag ghunghroo bandh meera nachi re.' The dancers played with cymbals and veils to recreate the sanctity of the temple dance.
In the royal courts and in `kotas' the anklet is debased. The poignant ghazals of Begum Akhtar were given the expression of yearning by Bhatacharjee's disciples as in `Yaad piya ki aaye.' Bhatacharjee portrayed the final phase of the anklet.
The piece came to a dramatic finale with the narration "I am there in the cosmos and the world, also in emotion, Mein vahi ghunghroo hoon."
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
