Bala Devi Chandrasekhar
| Photograph Credit score: Ravi Mishra
The calm and serene Umayalpuram village, on the banks of the Cauvery, buzzes with exercise because the villagers collect to rejoice the annual Sita Rama Kalyanotsavam at Rama Mandiram, the place the idols of Rama, Sita, Lakshmana and Anjaneya are put in. The temple has been internet hosting the kalyanotsavam for over 100 years. The occasion additionally celebrates the musical legacy of Umayalpuram, house to Krishna Bhagavathar, Sundara Bhagavathar and Swami Bhagavathar, sishyas of saint-composer Tyagaraja. The competition initiated by Kasi P Vaidhyanatha Iyer is being continued by his nice grandson Chandrasekharan Balaraman with the help of Saraswathi Pattabiraman, who has been part of the kalyanotsavam for greater than 75 years.
Held in July yearly, aside from rituals, there are music and dance performances. The bajanai matam reverberates with goshti gaanam whereas unchavriti (singing by the streets) is carried out each within the morning and night. Within the night session, ladies and youngsters of the village be part of the group, a few of them dancing the normal Kummi.
This yr senior dancer Bala Devi Chandrasekhar offered her solo thematic manufacturing ‘Padmavati-An Avatar’. The Jayadeva’s ashtapadis have all the time been an awesome supply of inspiration for performing and visible artistes. Maybe for the primary time, the main target was on Padmavati, the temple dancer whom Jayadeva married, and who impressed him to give you the epic work.
The manufacturing was divided into 4 acts (the 4 phases of bhakti) — Saalokhyam (being in his world), Saaroopyam (taking his type), Saameepyam (approaching him) and Saayujjyam (turning into one with the beloved).
Throughout his wedding ceremony to Padmavati, Jayadeva remembers the verse ‘Dehi padapallavam’ (Krishna asking Radha to position her flower-like toes on his head) from Gita Govindam.
The descriptions of the darkish clouds, the shade of the Tamara bushes, Radha and Madhava assembly on the banks of river Yamuna, the struggling of Radha when her sakhi tells her about Krishna’s dalliances with a ravishing gopi had been visualised evocatively. The tala prastharam in Tisram, Chatusram and Kandam sustained the momentum of the actions.
The dancer-choreographer’s expertise and mature method got here by in the best way she had visualised a few of the scenes, together with the Dasavathara. As an example, Krishna because the cowherd strolling with a stick on his shoulders had a people flavour to it whereas the plucking of the veena strings as Radha’s braids her hair was an aesthetic portrayal. However a bit of restraint within the actions throughout the karanas could be good.
The Padmavati and Jayadeva story, interspersed with Radha and Krishna episodes, showcased the myriad shades of Shringara rasa. The Puri Jagannath rath yatra, the finale, was an apt illustration of the Jivatma -Paramatma idea, usually related to Gita Govinda.
Lyrics for the manufacturing had been by S. Umapathi Shiromani and musical composition was by Rajkumar Bharathi.