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Classicism at its best

Photo: K. Ramesh Babu

AESTHETICS AND TRADITION Raja, Radha Reddy and troupe in the ‘Ashtapadi’ sequence

The Parampara series’ foray into the twin cities with a three-day festival ‘Andhri’ so called after this State was a real feast for all the dance lovers with a Kuchipudi, Kathak and Odissi recitals by the best in the field like Raja , Radha Reddy and troupe, Shovana Narayan and Sharon Lowen. Organised by Natyatarangini school of Raja and Radha Reddy at Ravindra Bharati, the fest showcased the guru couple in a group presentation. The strong point of their style is that it is markedly archetypal Kuchipudi in footwork patterns, ‘anga saushtavam’ (stiff bearing) and vigour with fringe modifications to appeal to the connoisseurs of today. They have imparted fine elements like grace and sway along with statuesque stances in the vilambit flow which gradually picks up to swift movements along the dhrut taking it to a tempo Yamini Reddy’s Aadenamma harudu… a predominantly nritta-based Shiva narthanam solo was executed with exactness. She is agility personified with immense grace a superb adaptability to move from one fleeting jati to an exotic stance and to another slow-paced one without a trace of strain anywhere upon her. Her abhinaya extends from eyes and face to body kinetics. This rhythm-based piece was juxtaposed with the exotic lyric-based Kaliya mardhanam (a Oothukadu composition) by Bhavana Reddy who fitted the role of a young Krishna to a ‘T’.

Her charming face with impish eyes went down with the audience. The pace and flow of the lyrics in itself had a rippling effect and the lithe dancer’s sterling performance was like a visual replica. The group ashtapadi, where Radha Reddy played the virahothkantitha naayaka was a ‘shabdam’ piece. Raja Reddy as Krishna along with his disciples who were both gopis and ‘illusory’ Krishnas at the Rasaleela made for a wonderful ballet. Absolute synch, perfect in mime and movement was the highlight of this ashtapadi. Costume and make-up with hairdos is one more area in the Kuchipudi dance format that has been a welcome alteration by the couple. Shovana Narayan came like a lightning on the stage and dazzled her audience with her vivacious execution of Kathak footwork. If she paused it was to dance her way to the mike and spell out the bhol for the tablist to pick them up.

The intricate footwork patterns flowed across the dancing floor through her ghungroos (anklet bells) as she danced her way to the audience’ heart. Sitar and tabla kept pace with her complex footwork with equal rhythm and rigorous play. Shovana impromptu Her impromptu footwork execution and wonderful staying power left the viewers gasping for breath. She proceeded to an abhinay piece from Maithilisharan Gupt’s ‘Yashodara’ Shovana was her emotive best as she portrayed the agony of innocent deserted Yashodara who wails over the betrayal of her husband . To the lines- Sakhi woh mujse kah kar jaate…. she spoke volumes with a gamut of facial expression-now aggrieved, now pathetic, now hurt and now in ire-so natural to a woman in shock. The entire poem was drawn out like a series of paintings through dance .

Her layakari and mastery over nuances of Kathak were supreme. Here was an artiste who seemed to dance for herself in total surrender unmindful of the viewers-such was her involvement. Vijay Sharma on the sitar was melodious while Shakil Ahmed Khan on the tabla was compelling. Sharon Lowen’s Odissi stood in stark contrast to the vigorous Kathak of the previous day. This slow, curvaceous dance began with the customary Mangalacharan. . The slow to madhyam footwork was executed with poise and precision as was manifest in Sakhi kesi madana muraram… an erotic piece carried out with artistic finesse.