Within the midst of the hustle and bustle of life, discovering an oasis of serenity brings nice pleasure. That is the sensation one skilled whereas watching the dance drama ‘Krishnamari Kuravanji’ at Kalakshetra as part of its annual dance pageant.
This manufacturing, initially premiered in 1972, and revived below the steering of Prof. A. Janardhanan, re-emphasised the timelessness of those productions.
Madanavalli, a younger maiden, who’s watching the procession of lord Vedapurinatha, falls in love and needs to unite with the Lord. She meets a gypsy palm reader who asks her to wish to the deity of Thiruverkadu temple. The Devi seems and grants her needs.
The dance drama started with two kattiyakarans (Kailasanathan and Jyotish) describing the temple procession intimately, whereas 4 sakhis ( Janet, Anagha, Krishna and Atheena) danced in unison, describing in nice element the great thing about the Lord. This was choreographed with finesse, and the right symmetry of assorted formations and dancers have been nice to look at, regardless of the size of the scene.
Pavithra Lingeshwara’s portrayal of Madanavalli was on level — particularly, her admiration for the Lord on the one hand and the torment she experiences attributable to her lovelorn state on the opposite. The entry of the kurathi behind an aesthetically designed thiraiseelai (curtain) alongwith two sakhis (Sakshi and Manasi) introduced in a component of folks flavour. The panorama of the Tirumala hills was visualised via lyrics, music and dance.
The dignity, repose and serenity with which the kurathi had been visualised gave immense stature to the character. And, senior dancer Jyotsana Menon did full justice along with her expressions and actions.
Devoid of any technical gimmicks or a blackout, the entry and exit of Devi Karumari (Meenu) from the anthill was seamless. The becoming finale, the Naga Natanam, was filled with mild, swish actions and devotional fervour, highlighting the benign nature of the Goddess.
Regardless of the size of the manufacturing, the refined dance, music, and costume strictly adhering to the grammar of Bharatanatyam, made this present an enriching, aesthetic expertise.
The musical rating is by the late Papanasam Sivan (assisted by Thuraiyur Rajagopala Sharma and Seetharama Sharma), and he has woven ragas together with Kalyani, Nadanamakriya, and Thodi to swimsuit the numerous moods of the dance drama, which has lyrics by Karumari Dasan.
Hariprasad’s rendition of the compositions, capturing their myriad moods with sensitivity, enhanced the visible impression of the dance sequences. Anil Kumar on the mridangam and Ok.P. Rakesh’s nattuvangam have been highly effective. Anantha Narayanan on the veena and Sasidhar on the flute embellished the songs with melodic phrases.
Story of Jayadeva
The identical set of musicians gave musical help to the revival of yet one more dance drama from the Kalakshetra repertoire — ‘Bhaktha Jayadeva’. The manufacturing, choreographed by Krishnaveni Lakshman and with music by S. Rajaram, highlighted the story of Jayadeva and sure episodes from his life.
The early a part of the story was about Padmavati’s mother and father looking for the hand of Jayadeva in matrimony, their marriage ceremony, Padmavati’s devotion in the direction of her family duties and Jayadeva’s writing pursuits. The latter portion highlighted the story of the king of Utkala, who, distressed by the recognition of Jayadeva’s compositions over his personal, seeks divine intervention to evaluate the 2 works. This goes in Jayadeva’s favour.
The ultimate phase of the story was in regards to the queen testing Padmavati’s love and devotion and Padmavati giving up her life, solely to be restored by Jayadeva’s devotion to the Lord.
The selection of this story didn’t lend itself very effectively to a manufacturing. Every scene felt stretched to its restrict and the routine sample of dance sequences and choreographic formations, did not maintain curiosity. The introduction of Odissi model of hair ornamentation and costume for under Padmavati and the courtroom dancer, amidst Bharatanatyam drapes for others appeared misplaced too.
The second when Jayadeva sings the Ashtapadi to carry his spouse again to life was an emotionally charged motion — each visually and musically. Extra significant sequences like this might have helped in protecting the curiosity alive.
When productions resembling these are revived, they must be edited and tailored drastically to attraction to the youthful era and up to date time-frame.