Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | Friday Review | Cinema Plus | Young World | Property Plus | Quest | Folio |

TWINKLE TOES Yamini reddy reminded the audience of her parents’ exuberance on stage.

“Aadenamma”, the Paras homage to Siva embodying in his entirety the polarities of evolution began with a Revati overture to Ganesh followed by the “Viswanatham Bhaje” salutations, the dance a contrast of frozen stillness and rhythmic vivacity. As soon as the Mukhari strains of “Intinoyamma” started it was a nostalgic throwback for more than one viewer in the gathering, to the days when Radha Reddy evoked with superb flair the tone of the vain courtesan glorying in her beauty which she boasts even the sage and the ascetic are not immune to.

Yamini reveals the potential for capturing the same vibes with the years and more experience. In their own home, the Ravi Shankars were treated to the maestro’s Tarana in Natabhairav captured in the twinkling rhythm of Kuchipudi – this favourite of the Reddy couple certainly the best item of the evening.

Whether the twinkle-toed exuberance of Kuchipudi and the haunting ache of the devotee’s plaint in late George Harrison’s song of wanting “to see”, “to touch” and “to feel” “the Sweet Lord” can cohesively come together in one item is debatable but Yamini’s choreography with four other Reddy disciples also participating was a brave effort suiting the occasion and touching for the wife of The Beatles stalwart who happened to be present for the evening. The competent melodic support had Kaushalya conducting, Sudha Raghuraman (vocal), Raghuraman (flute), Annadorai (violin) and Bhasker Rao (mridangam).

Impresario India on the second evening of the two-day festival of arts from the banks of the Brahmaputra, presented on the fountain lawns of India International Centre, had the melodious singer Madhumita from Bishnupur sing lyrics of Assam’s reputed Bhupen Hazarika. She presented the “Rudali” film favourites starting with “Bitena bitena Raina” on to the delightful Bengali hit “Dil bhoom bhoom kare” followed by the Hindi “E Dola”, concluding with the Brindavani Sarang “Jhooti mooti bath”.

The second part of the evening saw the Dance Drama “Usha Parinayam” in Sattriya Ankia-Nat form.

The choreography by Sattriya Guru Jatin Das, based on the popular episode from the Bhagavata Purana, had for textual format Ananta Kandali’s work belonging to the last part of the 16th Century.

The story of Banasura’s daughter Usha losing her heart to her dream prince Aniruddha, the grandson of Krishna, with friend Chitralekha successfully rescuing him, in this regional Assamese version has an interesting sub-plot of Narada teaching Chitralekha the Haranlukimaya, enabling her transformation into a bee, to enter undetected, the fully guarded fortress where Aniruddha is, escaping with her, is changed into a bee. On resuming his natural form Aniruddha shows signs of developing a soft spot for his rescuer, till he is taken to meet the languishing Usha.

Guru Jatin Das’s choreography had some clever moments as when Chitralekha as a humming bee enters the chamber where Aniruddha is sleeping. In fact, the dancer who played this role, with her expressive face and dancing vitality gave the best performance. As the typical languishing maiden in distress after “swapna eki dekhilu arbuta” was Usha. Another scene of great conviction was the Narada/Chitralekha encounter with the subsequent escape and the chariot ride of Chitralekha. Reciting of the Bols (rhythmic syllables) and playing the Khol were ably performed by the Guru’s son, Gunakant Bora. The female dancer as Aniruddha made for a somewhat effeminate hero. And while Guru Jatin’s nritta choreography had the right accompaniment and support from the wings, the abhinaya part called for music that was better sung.

The two female voices particularly left much to be desired. And with a fine Khol player, where is the need to have instruments like the synthesiser which does not gel with the tone of the rest of the music?

The dance narration flowed in a fast clip, without stumbling at any point.

Printer friendly page  
Send this article to Friends by E-Mail