Bharata Kalanjali’s ‘Jharna’ was conceived to supply younger dancers a platform to create authentic choreographic works, shifting past the margam they carry out usually. The dancers are chosen primarily based on the movies they submit, they usually carry out for an hour every, over two weekends.
Madhumanti Banerjee, presently being educated by Indira Kadambi, was chosen for the inaugural efficiency. The primary half featured a Dhandayudhapani Pillai varnam ‘Mohamaginen’ in raga Kharaharapriya. The nayika, besotted by Shiva, pours out her love and anguish to her sakhi. Madhumanti’s abhinaya, a mix of shringara and bhakti, had many imageries that drew parallels to nature.
Nonetheless, the influence of this was misplaced within the overpowering nritta passages. By the point the primary jathi concluded, weariness set in and one didn’t really feel a lot for the nayika.
The artistic composition that Madhumanti explored was an excerpt from her ongoing full-length choreographic work on the theme of Ganga. The sequence depicted Ganga’s descent with fury, and Shiva controlling it by holding her in his locks. Moreover the conventional narrative depiction, Madhumanti had checked out it with sringara bhava, exploring Ganga’s emotions — as a consequence of her proximity — in direction of the masculine vitality of Shiva. Sure sections captured the move of the river superbly, however incorporating nritta within the depiction disturbed the move. Utilizing a blue material to depict the river was a bit of outdated too.
Madhubanti Banerjee
Keerthana Ravi
There are innumerable useful resource supplies out there to an artiste to discover artistic concepts. And, when an artiste makes a selection, delves deep into it and owns the composition, the result typically turns into a cherished expertise for the viewer. Keerthana Ravi’s efficiency was one such, the place the three compositions weren’t solely numerous in vary, but in addition outstanding in expression.
Within the Kabir doha ‘Ud ja, hans akela’, which speaks of the cycle of life, Keerthana started her recital with a seed sprouting, spreading its roots, rising in stature, and turning into a tree with leaf-filled branches that fall when a gust of wind hits them — all these had been portrayed rendered with depth. The deep philosophy of the doha got here throughout in each sequence, be it the journey of a human from beginning to demise or different dwelling species.
In ‘Inquilaab zindabad’, the helplessness of bondage, and the joys of freedom and empowerment had been powerfully conceived utilizing simply rhythm. A superb multi-percussion soundscape by Satish Krishnamoorthy introduced out each sensitivity and fervour, and Keerthana matched this step-by-step.
Who says concepts have to be restricted to romance, pathos and mythology? They may also be related to up to date occasions, such because the influence of the flood of knowledge in social media. This was conveyed with readability and conviction.
‘Soorpanakha-Navarasa Gadhya, composed and sung by Karthik Hebbar, was explored by means of Navrasas and from the attitude of a girl. From the introduction, the place she sees Rama and falls in love, Keerthana’s abhinaya was stuffed with stunning nuances. As an illustration, within the scene the place she’s preparing with adornments in entrance of a mirror, the depiction was not that of a coy girl, however one with confidence and magnificence.
To maintain the curiosity of the viewer, an artiste’s presentation wants depth and honesty. Keerthana’s efficiency had each.
