Geetha Chandran and college students of her Natya Vriksha Dance Firm current their thematic manufacturing ‘Samagati’ on the Music Academy’s December dance pageant held on January 8, 2024.
| Photograph Credit score: PICHUMANI Okay
Dancers are continuously taking a look at new ideas and themes that might attraction to a bigger viewers base for his or her solo and group shows.
Geeta Chandran and her Natya Vriksha dance firm’s ‘Samagati’ ( broadly outlined as a union), on the Music Academy, launched the philosophical concept of purushartha.
Interspersing the concept of coming collectively in a harmonious method, Geetha’s recital was divided into 4 segments — Dharma, Artha, Kama and Moksha.
Geeta had conceived the idea of Dharma, an intensely private state of perception, as a salutation to her Ishtha Devata — Nataraja, the lord of dance, by means of an unique composition ‘Shankara Jatadhara’ written by Pootanery Subramaniam and composed by O.S.Arun. The attributes of Shiva and the 5 parts had been explored.
Geetha Chandran introduced the Purusharthas as 4 segments at her thematic efficiency through the Music Academy’s dance pageant, held on January 8, 2024.
| Photograph Credit score:
PICHUMANI Okay
Every of the 4 segments was introduced as a bunch choreography and Geeta explored the permutations and mixtures of actions and formations in myriad methods.
Nicely-synchronised actions
A purvikalyani jathiswaram by the Thanjavur Quartet, chosen for the concept of ‘Artha’ was noteworthy for the rhythmic exploration of adavus, thattimettus and finely-synchronised coordination of the dancers. This highlighted the grandeur and fantastic thing about a jathiswaram.
‘Maaye’, the Shuddha Tarangini raga composition by Muthuswami Dikshitar, is a traditional tune within the Carnatic repertoire, with concepts embedded in it to throw gentle on ‘Maya’ that ensnares us in an online of phantasm. However, it then goes on to hunt the blessings of the goddess to free us from this bondage. The visualisation had a couple of attention-grabbing concepts, together with using puppet-like actions to indicate how human beings are mere puppets within the fingers of the creator. However, the general ideation didn’t mirror the enduring stature and fantastic thing about the kriti.
‘Moksha’ started with a robust visible of a bunch of dancers transferring in the direction of a highlight. It moved on to a sequence from Haveli Sangeet, the place the considered Krishna being ‘Adrishya’ for the gopis, and their journey by means of particular person quests for attaining moksha had been introduced with attention-grabbing depictions. Nonetheless, it quickly started to meander.
That stated, Samagati was spectacular for its skilled strategy. The lighting design by Gyandev Singh enhanced the dynamism of the dance actions — he used a kaleidoscope of colors to swimsuit the various moods.
