At ‘Dvi Nethram- The Imaginative and prescient of Parampara’, convenor Roja Kannan, together with advisory members, Prof. Sudharani Raghupathy and Chitra Visweswaran, offered conventional dance types from throughout South India. Theirs was a large, inclusive view of Parampara — the previous and the brand new; the classical and the people.
Regional dance theatre was offered with the Malayalam Seethankan thullal, a sort of thullal (Kalamandalam Nandakumar and troupe), the Tamil Therukoothu (Purisai Duraisami Kannappa Thambiran Paramparai), the Kannada Yakshagana (Yaksha Sinchana Belief, Bengaluru) and the Telugu Oggu Dolu Vinyasam (Eerla Mahipal and troupe, Telengana).
The Oggu Dolu Vinyasam from Andhra Pradesh was an acrobatic present by skilful drummers of the Shaiva custom, performed to gather folks within the village as they make their method to the temple. The fashion has a katha part nevertheless it was not offered. The opposite regional desi artwork types had been of the dance-theatre style, with a typical function being tales from the puranas making them instantly relatable. They use the native language, have impromptu dialogues and should not sure by method, humorous and vibrant.
The Seethankan Thullal rendering is barely slower than the Ottanthullal and is used for ‘Kalyana Sougandikam’. Right here Hanuman teaches Bhima a lesson. A lot drama and laughter observe. There are simply three folks on the staff — the actor-singer, a cymbalist-singer and a mridangam participant. The story unfolds because the performer is singing and dancing, the road repeated by the talam keeper, although one doesn’t must observe the lyrics to know. The fashion is taken into account a neighborhood type of Chakyar Koothu.
Therukoothu has a much bigger staff — a narrator, actors, a refrain and musicians, a clarinet and a percussion. Ingenious props are used — like a chunk of fabric round a toddler’s head with the remaining twisted and draped over the arm turns into a Ganesha with a trunk. There’s full-throated music, exaggerated mime and dramatic dialogues. In ‘Hiranya Samharam’ the larger-than-life Hiranyakshipu describes how his brother Hiranyaksha tormented the Earth by rolling her right into a mat, rolling his eyes for instance. The clarinet accompaniment stored straying into the classical area on the finish of his interventions.
The Yakshagana is as dramatic and bigger than life. The Bhagavatha (Chitkala Tunga), narrator-singer, is the anchor of the present. In ‘Kamsa Vadhe’, the fierce Kamsa (Ravi Mannodi) is seeking to kill Krishna. He desires of his impending loss of life and will get scared. He tears up and counsels himself to be courageous. Krishna arrives and runs to Kamsa’s lap with an harmless cry, ‘Mama’. The fond reunion doesn’t occur; the 2 finally struggle and Kamsa is killed.
It’s right here that one noticed the pressure of truncating the all-night dramatisation – disturbing the rhythm of the actors and the pure development of the narrative. Dance steps are extra outstanding and the steps for feminine characters have options of Odissi or specific karanas that will have been common there.
The classical style had illustration from three banis in Bharatanatyam— from the nattuvanar households that grew and nurtured it — the Thanjavur Nalvar bani (represented by Guru Okay.P.Okay. Chandrasekaran, son of the illustrious Okay.P. Kittappa Pillai), the Thiruvidaimarudur Thanjavur bani (from Raja Rajeswari, Mumbai, represented by gurus, and Nrithya Pillai, representing the Vazhuvoor bani), and one from the Kuchipudi lineage — Kalavantulu households, Dr. Yasodha Thakore.
The Thanjavur Quartet fashion
Subtlety and restraint characterised the Thanjai Naalvar bani, represented by Guru Chandrasekhar and his younger daughter Charumathi. Hers is the primary era of girls from this nattuvanar household to be allowed to carry out on stage. She is the seventh era of Sivanandam from the Thanjavur Quartet and the fifth era from Pandanallur Meenakshi Sundaram Pillai. That night their choices consisted of a Purvikalyani kriti (‘Satilemi’, Mishra Chapu), ‘Agni Shanti’ from the Navasandhi Kavuthuvam, composed by Gangai Muthu Nattuvanar, Thodi pada varnam, ‘Mohalahiri’, and the Husseni padam composed by Dharmapuri Subbarayar.
Grace with good geometry, timing, and confidence marked this dancer’s efficiency. Nothing was overtly dramatic. It appeared matter of truth however there was a lot taking place beneath the floor. Chandrasekaran’s sollus had been tender however rendered quick at occasions, deceptive with the deliberate mismatch between sollus and adavus. As Guru Chandrasekaran stated, “Pada varnams are largely in chauka kala, we now have to take care of that. The sluggish tempo is maintained all through the varnam.” The trikala jathi opened with vilamba kala single syllables with pauses in between, ‘Tha a tha ri tha…’ Mridangam accompaniment (Thirukadaiyur G. Kamalakannan) was restrained, including to the gratifying music (Bhuvanagiri R.Okay. Kumar).
Guru Chandrasekaran’s cymbals produced flat toned beats, turning over for the sharp sounds solely throughout nritta passages. The aural panorama was nicely taken care of and nothing assaulted the ear. The anupallavi jathi had old-world sollus, ‘Thadhinangudu, dhimmi thakita kita thaki, dhimi thadhinatom, dhimi titalangu tom’ with faint pauses in between so as to add as much as 16 matras. One other quaint side was the round ‘ta tai tai ta’ step. 5 jathis earlier than charanam and none thereafter is their approach. Mridangam accompaniment (Thirukadaiyur G. Kamalakannan) was restrained including to the gratifying music (Bhuvanagiri R.Okay. Kumar).
A way of music pervaded the presentation of the Thiruvidaimarudur Thanjavur bani by Sri Rajarajeswari Bharatha Natya Kala Mandir, Mumbai, led by Guru Okay. Kalyanasundaram Pillai and his nephews Gurus G. Vasanth Kumar and Viswanath Mahalingam. It was not simply the musical staff of Mumbai Shilpa (vocal) and the skilled accompanists, however the lecturers, who joined in to create unforgettable melody; their sollu supply, with tender intonation, was lilting. There have been occasions when the three gurus recited a jathi in turns, good concord throughout.
Guru Kalyanasundaram’s granddaughter Sruthi Natanakumar mirrored this calm. Her adavu execution was clear and sleek. She took up the Thanjavur Quartet (Sivanandam) Thodi varnam, ‘Danike’ in Rupaka tala, a heritage piece of the household.
There have been attention-grabbing nuggets concerning the refined rhythm. Guru Kalyanasundaram defined, “The trikala jathi appears completely different as a result of it begins with the madhyama kala, durita, madhyama, vilamba, and so forth.” Each jathi had a catchy tattakaram prelude rendered by him.
Nrithya Pillai, granddaughter of the famend Guru Swamimalai Okay. Rajarathnam Pillai, identifies herself as an artiste belonging to the Sadir dancers of a bygone period, past banis, and is impressed by T. Balasaraswathi and others. She has a commanding presence and an incredible sense of timing.
Nrithya’s efficiency opened with Vazhuvoor Thodayamangalam, ‘Gnana sabesa stothram’. She offered a sabdam (‘Sami ninne’), Ragamalika, Mishra Chapu, Ponniah Pillai), Khamas swarajathi (‘Mohalahiri’, Rupakam), ‘Kadigai Namashivaya Pulavar’ tuned by Subbarama Dikshitar and a part of the opera ‘Vallibharatham’) ‘Ariven Ayya’ padam (Atana, Subbarama Iyer), and ‘Ela radayane’, a javali in Bhairavi.
The swarajathi sparkled as her eyes danced with the fantastically rhythmic jathis (some by Guru S.Okay. Rajarathinam and most by Guru Vazhuvoor Ramiah Pillai) to Parur M.S. Ananthashree’s correct and lilting nattuvangam and music. Nrithya has a scholarly background and each piece was launched with a historic perspective. The javali was particularly noteworthy because the dancer sang a few of it and emoted seated on the stage.
Deal with padams and javalis
One other hereditary artiste, Dr. Yashoda Thakore, from the courtesan background in Telugu talking areas known as Kalavantulu, offered Kalavantulu Nrithyam, with padams and javalis that she had researched and learnt from the standard artistes themselves.
Yashoda’s presentation was half autobiographical as she lays declare to her background, and half historic, as she led us down the ages. The prayer ‘Swari vedalenu’ was once carried out by temple karmakartas and kalavantulus when the god was taken in a procession. A Salam Daru on Pratapasimha with lyrics like, ‘Hara hara… chira chira…jaga jaga….’ had minimal steps, however there have been attention-grabbing facet steps. The Kalavantulus was once seated, and would emote the lyrics in a chamber setting. The second half was performed standing.
Yashoda is such a sleek and expressive dancer that she made the Kshetrayya padam ‘Raayabaramampinada’ (khandita) and the suggestive javali ‘Samayam manchirera’ (Virahotkhandita) come to life so naturally. She concluded with an impromptu phase, ‘Gaptu varasa’.
The up to date productions, ‘Don Quixote’ by Sheejith Krishna and ‘Tales from the Bull and the Tiger’ by Shankarananda Kalakshetra and Dr. Ananda Shankar Jayant, additionally had full homes.
Sheejith Krishna has had a head for brand spanking new themes since his Kalakshetra days. However ‘Don Quixote’, an journey story set in Spain, is sort of one thing else. His ingenuous steps, not fairly Bharatanatyam and music, worldwide sounding, Indian in components, and worldwide costumes, made for an enchanting expertise. It was not an opulent present, however one which was creatively performed.
The title ‘The Story…’ was fairly deceptive. The dance theatre was not fairly about forests however as Ananda defined, “It was about Him on the core of our being.’ With aesthetic costumes, stunning visuals and glorious dancing, it was virtually like a sing alongside. The music scape, if a bit too loud, was replete with recognized mantras, acquainted songs and rhythmic jathis. Each scene was in any other case well-planned and executed. The story didn’t transfer ahead. And ended quickly after with a cute household portrait
Whereas Lakshmi Viswanathan inaugurated ‘Dwi nethram’, V.R. Devika and Usha R.Okay. enlightened the viewers with skilled feedback.