Dancers captured the essence of temple festivals at Natyarangam’s Uthsava Bharatam

This final a part of the assessment of Natyarangam’s 10-day Uthsava Bharatham describes how dancers introduced alive the festive atmosphere at temple cities

This final a part of the assessment of Natyarangam’s 10-day Uthsava Bharatham describes how dancers introduced alive the festive atmosphere at temple cities

When temple festivals kind the theme of a dance collection, can these recognized for his or her grand utsavams be left behind? Dancers equivalent to Okay.P. Rakesh, Medha Hari, Sheejith Krishna, Karuna Sagari and Parshwanath Upadhye introduced alive the sights and sounds via their performances on the lately concluded Uthsava Bharatham collection, organised by Natyarangam.

There are occasions when easy and simple narration enchantment the viewers because it was at Okay.P. Rakesh’s ‘Tirupati Brahmothsavam’. He offered the speciality of every day of the competition.

Venkateshwara Suprabhatham adopted by the favored tune ‘Brahmamokate’ with which Okay.P. Rakesh started his efficiency struck an prompt chord with the viewers.

The vahanas used throughout the processions had been depicted aesthetically, particularly the coordinated snakelike motion of the 4 dancers, two because the palanquin bearers and two as sesha moorthy idols, for the procession of the Chinna Sesha vahanam, was well-conceived. Easy choreographic patterns elevated the presentation, however the dancers ought to have centered extra on the synchrony of actions, particularly in scenes like pulling of the chariot. Sivasri Skandaprasad’s singing enhanced the visible enchantment.

Tiruvannamalai Deepam

Medha Hari’s dance perfomance on thiruvannamalai Deepam, for Natyarangam 2022.
| Picture Credit score: SRINIVASAN KV

Tiruvannamalai, one of many panchabhootha sthalams of Shiva, was explored by Medha Hari in her solo efficiency. Utilizing sollukattus and ‘Om Namah Shivaya’ chants, Medha depicted the shape and numerous attributes of Shiva, shifting seamlessly between nritta and postures.

The glory of Tiruvannamalai kshetram was taken up for depiction with the story of Vishnu and Brahma going in several instructions to find the ‘Aadhi’ and ‘Antah’ of Shiva, Shiva’s curse on Brahma, and Shiva taking over the type of Arunachala hills.

Medha Hari’s dance perfomance themed on Thiruvannamalai Deepam at Natyarangam 2022.
| Picture Credit score: SRINIVASAN KV

Medha together with her stage presence was in a position to talk her concepts successfully. However somewhat restraint would have lent depth to her natyam. Although among the scenes equivalent to boring into the earth and flight of the fowl had been fantastically visualised, repeating concepts may herald weariness. Additionally, shifting out and in of the highlight was disturbing.

Medha Hari’s dance perfomance themed on Thiruvannamalai Deepam, throughout Natyarangam 2022.
| Picture Credit score: SRINIVASAN KV

The spectacle of Karthigai Deepam was included too, however the total presentation centered extra on the kshetram than the uthsavam.

Thiruvananthapuram utsavam

Dance efficiency by Sheejith Krishna – Sri Padmanabhhsavamy Panguni Uthsavam and Aippasi Utsavam for Natyarangam 2022, at Narada Gana Sabha .
| Picture Credit score: PICHUMANI Okay

Sheejith Krishna’s presentation was themed on the Panguni Uthsavam and Aippasi Uthsavam held at Sri Padmanabhaswamy temple, Tiruvananthapuram. Sheejith, who had choreographed the piece, had judiciously blended the weather of nritta and bhava, each in his solo and group shows.

Dance efficiency by Sheejith Krishna and workforce, ‘Sri Padmanabhhsavamy Panguni Uthsavam and Aippasi Utsavam’ for Natyarangam 2022, at Narada Gana Sabha.
| Picture Credit score: PICHUMANI Okay

For the Swati Tirunal kriti ‘Devan ki pati indra’, he portrayed Padmanabha in all his glory. As a devotee/sutradhar, Sheejith elaborated on sure rituals, and narratives to hyperlink their depiction in group formations at common intervals. His experience in abhinaya helped in speaking the concepts with readability.

Sheejith Krishna and workforce presenting ‘Sri Padmanabhhsavamy Panguni Uthsavam and Aippasi Utsavam’ throughout Natyarangam 2022 at Narada Gana Sabha.
| Picture Credit score: PICHUMANI Okay

The dwajarohanam, palanquins, and Arattu procession had been highlighted via numerous group patterns. A little bit extra consideration to detailing would have enhanced the manufacturing worth. The entries of group dancers within the background, at the same time as an abhinaya session was in progress, and the non-synchronised actions of the palanquin bearers disturbed the sequence.

The bhava-rich singing by Jyotishmathi added to the presentation. The orchestra members and dancers, attired in off white and gold, supplied a slice of Kerala.

Tiruchendur temple

Dance efficiency by Karuna Sagari – Skanda Shasti for Natyarangam 2022, at Narada Gana Sabha.
| Picture Credit score: PICHUMANI Okay

There may be immense scope for dramatic story telling on the subject of Muruga, and Karuna sagari, who offered Skanda Shashti at Tiruchendur, conceptualised a really theatre-centric manufacturing.

Karuna Sagari – Skanda Shasti for Natyarangam 2022 at Narada Gana Sabha.
| Picture Credit score: PICHUMANI Okay

Starting by denoting the geographical location of the city, Karuna Sagari moved on to depict the story of Muruga and Soorapadman, that culminated within the Soorasamharam in Tiruchendur. She introduced collectively classical dance actions, martial arts, folks music, and dramatic lighting to spotlight the theme.

The dance segments had a number of fascinating tableaux, heightened by swift and energetic actions. The dancers conveyed the concept impressively via well-choreographed formations, albeit a bit over-stretched.

The musical rating was an eclectic mixture of sounds.

Parshwanath Upadhye performing Dasara Mysuru at Natyarangam 2022.
| Picture Credit score: SRINIVASAN KV

Mysuru Dasara

The collection concluded with Mysuru Dasara competition. Parshwanath Upadhye introduced alive the celebrations via his participating portrayal. He started his efficiency with Choornika — a prayer to Atma Vilasa Ganapathy. Full of devotional fervour and serenity, the presentation was engrossing, and Parshwanath’s consideration to element whereas portraying the rituals was fascinating.

Parshwanath Upadhye performing Dasara Mysuru at Natyarangam 2022.
| Picture Credit score: SRINIVASAN KV

Muthiah Bhagavatar’s varnam ‘Sree raja mathangi chamundeshwari’ in raga Suddhadhanyasi was the piece that he selected for elaborate exploration. Parshwanath, who had choreographed the varnam, offered it as a dialogue between a son and father, who introduces numerous tales and legends to the little youngster.

The duo enters the temple. The daddy rings the temple bell, and he notices his son’s enthusiasm to do the identical. So he lifts his son to expertise it. From the introductory second, the communication between the 2 was successfully portrayed by the dancer.

Parshwanath Upadhye performing Dasara Mysuru at Natyarangam 2022.
| Picture Credit score: SRINIVASAN KV

The assorted sthala puranas, and rituals carried out for Chamundeshwari had been conveyed in a narrative telling format, however Parshwanath, taking liberties, added in depth instrumental interludes to specific totally different concepts in regards to the processions, folks arts, and mela which can be intrinsic a part of the Mysuru Dasara festivities.

The restraint in Parshwanth’s delineation of nritta and bhava madehis efficiency impactful.

The Chennai-based reviewer writes on classical dance.

By- The Hindu

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