Aesthetic fusion of past and present
BHAWANI CHEERATH
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Pallavi Krishnan comes up with new compositions without deviating from the core of Mohiniyattom.
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Photo: S. Gopakumar
LIKE A PRISM: Pallavi Krishnan's work `Vikramorvasheeyam' drew inspiration from Kalidasa's work.
A dancer is like a prism absorbing the influences of the past and journeying through the celestial and the worldly through gestures and movements that are more effective than words. This defines the manner in which Mohiniyattom dancer Pallavi Krishnan chose her performance pieces at the Soorya Mohiniyattom Festival.
Dancer and devotee
A dancer and a devotee she became at once, when she began the evening's performance with `Shivatatwam... .. Shivtatwam' set to the Kerala rhythm of Ayyadi. Naturally the first question one asks Pallavi Krishnan is, "Why did you decide to start with the `Na-Ma-Shi-Va-Ya'?"
"Usually all performances begin with a Ganesha sthuthi, but ultimately it is to your god that the offering is made. Siva is my ishtadevta, and that made me choose this chant of a Siva devotee."
Tandavam is rarely used in Mohiniyattom, but ultimately what matters is the pose one adopts for the dance, explains Pallavi. While the energy and power of the Lord was conveyed, one could also perceive the control built into the dance to prevent it from becoming a vigorous display of the powerful god. Total command over the form was on display and not even for a moment did one get the feel that she was deviating from the framework of Mohiniyattom.
Following this was a pure nritta piece, Mukhachalam, a composition by Kavalam Narayana Panikkar, which gave ample scope to display the finesse in the dance using talas (Adi, Kariga, Panchari, Chemba and Marma) typical of Kerala.
The litmus test for the dancer however was her new work `Vikramorvasheeyam,' drawn from Kalidasa's work. The 40-minute-long composition was a delightful vision of the inner workings of a dancer. A feeling that arises or a thought that crosses the character finds fruition in her expression.
The text delineates the story of King Pururavas' attraction for Urvashi, their travails both in Indra's court and on earth. While she traverses the course of the episode, the danseuse conveys the varying moods of the characters but what strikes is that she has made a compact presentation without losing the effectiveness of a Mohiniyattom performance.
The support of vocalists T.S. Prathapan and Kottakkal Madhu went far beyond the conventional input. In her own words, adapting this for a performance that is more suited for theatre than dance was made possible with continued support from many. Selecting specific verses for the dance was achieved because, "Sundaresan of Sree Sankaracharya Sanskrit University, Kalady, translated and explained the verses, helping me understand the portions well enough to make the final choice," said Pallavi.
Constructive criticism
While working on a new composition, Pallavi realises the importance of an expert who gives her constructive criticism and is a source of continued enrichment of content. "This came from the Natyashastra scholar C.P. Unnikrishnan who has always been there, throughout my venture. A pillar of strength for me has been Kavalam Sir, whose vast experience and erudition have benefited me at every point," says the danseuse.
Pallavi Krishnan adds that setting the music for `Vikramorvasheeyam' was possible on account of the complete involvement of every member of the team, and this surely was felt by the viewer too, for bhava was evident in the music that filled the air.
The traditional dancer faces a problem of tailoring their repertoire to the demands of a shrinking audience. In the anxiety to retain interest many compromise or experiment, thereby affecting the quality. Pallavi Krishnan scores because she does not strip the dance of its core, and yet she moves ahead with new compositions.
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