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SRI KRISHNA GANA SABHA

Photo: B.Jothi Ramalingam

Different packaging: Sreelatha Vinod.

The confusion was compounded by the fact that she was dressed in Odissi-style and was presenting ‘Purushotama Darshanam,’ a work on the Puri Jagannath temple, that had been originally commissioned by the Natyarangam Trust for the Kshetra Bharatham Festival. However, as she performed the opening ‘Gopura Darshanam’ (Desh, misra chapu), it became clear that only the packaging was different; the core was purely Bharatanatyam.

‘Purushotama Darshanam’ was a well-researched presentation put together with the help of Professor and Mrs Shiniruddha Das and Prof. Narasimhachari. The lyrics were a mix of original compositions and specially written verses set to music by Hariprasad. The attention to detail was commendable-Sreelatha had brought in many elements of Oriyan culture like the costume, ornaments (gold-plated), and props (wooden replicas of the Triad-Jagannath, Balabhadra and Subhadra).

The occasional Hindusthani bols and Odissi steps added spice to this mix. It was a good effort, backed by good planning and excellent music. The choreography was clever as well. Sreelatha had couched information on the temple within brisk nritta sequences or within narratives.

The visualisation of the four gopurams in the opening piece and of the Rath Yatra (‘Purushottama Darshanam,’ Hamsanandhi, Adi) in the last were both exciting, full of joyous movements and devotion. Surprisingly, it was the straightforward storytelling sessions that disappointed. Not that they did not have enough clarity or meaning, there was rather too much of it.

Sreelatha’s portrayals were exaggerated and too practiced. The centerpiece of the programme (‘Neela Madhava Darshanam’, ragamalika, Chatusra ekam) was a narrative on the idol. Though the story was punctuated with crisp and enjoyable theermanams much like a varnam, the sahitya portions suffered because of this.

‘Krishna Darshanam’ (ragamalika, talamalika) was an abhinaya segment with a compilation of songs from various texts to show Krishna as a child, a youth and as the Lord , reflecting the worshipful idols in the Bhoga Mantap. The local texts suffered the same fate; only the ashtapadi (‘Nibruta Nikunja,’ Shudha Sarang) had subtlety. Only this aspect put a spoke in the wheel. The expert orchestra played an important role in carrying the 100-minute recital through without a dip in energy.

A melodious Hariprasad (vocal) was supported by Shashidhar (flute) who played non-stop and Deepu Nair (violin) who provided quiet melody. The percussion department was very committed to the project.

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