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Virtuosity dominant: Venkatachalapathi

After Krishna Vandana “Sundara Gopalam Uruvanamaalam Nayana vishalam, Dukkha haranam” as curtain raiser, Gitanjali began to elaborate on the “Nagma” or “Lehra” which is the musical refrain accompanying all abstract dance. Not merely a one line melody set to a particular tala, Nagma notes are so arranged as to bring out the cadence of the tala structure – the Kathak dancer always regarded as “dancing the tala” rather than “to a tala.”

As the refrain plays the solo compositions of Thaata, Amad, Tukra, Tihai, Paran and gat are danced to different tabla and Pakhawaj mnemonics, with the compositions invariably freezing on the sama, make the starting point of the Nagma more a meeting point where one avartan ends and another begins. Trivat set to Pakhawaj and tabla bols was demonstrated by disciple and son Abhimanyu and with Ayub Khan on the Sarangi, often called the soul of the Nagma for this is the instrument closest to the human voice which can produce the unbroken melodic flow demanded by the dance, the session had the right instrumental support. The Tabla, the other Kathak inevitable, was played by Yogesh Gangani, a scion from the Jaipur gharana Gitanjali also represents. The combination of Tarana, Sargam, Sahitya and Bols in the Chaturang was demonstrated, and Gitanjali herself danced to a Hori and Jhoola, light classical compositions used as musical base for interpretative dance.

The best part of the morning lay in the Kathakar’s demonstration, for this total theatre of narrating encounters from the epics blending music, narration and dance was the popular tradition from which Kathak emerged as the stylised variant. Abhimanyu’s rendition of the Dice Play scene from the Mahabharata revealed a till now hidden talent of fine singing in a strong sur-faithful voice and subtle abhinaya.

One wished some time had been set aside for demonstrating the “music of the ankle bells” in the tatkar and “Na Dhin Dhin Na” sequences, a very special part of Kathak. Apart from the given elements of traditional Kathak, Gitanjali did not refer to her own productions and the musical challenges therein. Samirullah Khan sang mellifluously.

Music in Kuchipudi is theatre oriented, being guided by the demands of the patra in the dance drama or Yakshaganas. Dealing with terrain that Chennai audiences are only too familiar with, Vempati Ravi intelligently planned his lecture demonstration to show how music was harnessed to suit the dance, thereby transcending popular perceptions investing specific ragas with particular svabhavas evoking a distinct mood. Thus the same Bhairavi used in Pravesha Daruvus in two different productions, evokes very different moods. In Bhama Kalapam it suits the mood of vivacity and hauteur of Satyabhama while used for Padmavati in Srinivasa Kalyanam it takes on the mesmerising qualities of the heroine who loses her heart to the Lord at the very first sight.

Vempati Ravi .

If “Taruni Rukmini” in Kalyani creates the gentle mood of Rukmini herself, in Ardhanariswar used to signify the arrival of Gauri as Prashakti, the raga takes on an entirely different tone. The raga is draped in yet another garb when it is used to express Shakuntala’s virahavasta. The same Khambodi expressive of utter devotion to Krishna becomes belligerent in gait when used for Shishupala with his animosity for Krishna.

Similarly Shuddha Dhanyasi used for Dushyanta in Shakuntala engaged in the hunt aiming his arrow at a deer, has a melting persuasive quality used for Shiva expressing his feelings for Ganga in Ardhanariswar. Here Vempati Ravi demonstrated vibrantly how the music takes on a movement much like the curving river. So in the abstract, the raga takes on the colour of the character it is used for. Apart from the use of less familiar ragas like Vagadheeshwari, Andolika etc, Guru Vempati Chinnasatyam’s productions with Sangeeta Rao’s musical imagination have used Hindustani ragas also.

The power of the malefic characters like Hiranyakashipu shown in the very entry in traditional Yakshagana, was demonstrated by Venkatachalapathi from Kuchipudi village.

The authority stamped in the very stride and bearing as the actor made his entrance along with the forceful and vigorous music were very typical of what his great father also was famous for. Excerpts from the Hiranyakashipu/Lilavati Samvada Daru and the scene where the rage against the obduracy of young son Prahlad with his Vishnu fixation gets the better of him was rendered with great conviction by the dancers.

After two full sessions, to tag on yet another Kathak session by dancer Jayanti Ishwar, was redundant and convenor Bharati Shivaji’s logic in scheduling this move could not be fathomed. Being absent for two days, due to “unavoidable reasons,” Bharati was substituted by Sunil Kothari.

Jayanti is a committed dancer but in taking on a mentally fatigued audience, in a dance form already elaborated upon, she was given a raw deal. Talking about unheard “music within the body” which she responds to, Jayanti gave a demonstration of Kathak movements rendered to nondescript music purported to be Flamenco music.

While her coverage of floor space was good, the entire exercise made no special statement – unless it was one of Kathak movement being adapted to music of non Indian genres.

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