Harinie Jeevitha offered ‘Varadarajam Upasmahe’ not too long ago at Gaana Nritya Academy, Mangaluru.
| Picture Credit score: Prashanth Agari
Gaana Nritya Academy, Mangaluru, offered the Chennai-based Bharatanatyam dancer Harinie Jeevitha’s efficiency ‘Varadarajam Upasmahe’ to a full home. A senior disciple of Sheela Unnikrishnan’s Sridevi Nrithyalaya, Harinie’s efficiency stood out for its grace and artistry.
The manufacturing was impressed by the 10-day Brahmotsavam on the Lord Varadaraja temple, Kanchipuram. Harinie introduced alive all of the festivities, paraphernalia and the rituals concerned within the utsavam. Loads of analysis has gone into this labour of affection and one might see the penchant for high quality not solely in the principle artiste but additionally in these in her staff. This presentation included compositions corresponding to ‘Varadaraja ninnu kori vachithi’ (Tyagaraja), Dikshithar’s ‘Varadarajam upasmahe’ in Saranga (set as a thillana) and lots of Sanskrit shlokas, Telugu songs and Tamil pasurams.
Harinie transported the viewers to the temple and streets of Kanchipuram via her partaking portrayal.
| Picture Credit score:
Prashanth Agari
The present started with a short visible presentation of the 10-day Brahmotsavam on display and an outline of the varied utsavams with their respective vahanas (mounts). When Harinie appeared on stage, she transported the spectators to the temple and streets of Kanchipuram. Each small element of the utsavam was taken under consideration and one felt like part of the procession, with the chanting of the Vedas within the background. Harinie depicted the varied vahanas intimately together with the vigorous swinging (kulukkal) via her lithe actions.
Harinie Jeevitha depicted Gajendra Moksham.
| Picture Credit score:
Prashanth Agari
The presentation focussed on the third day’s utsavam — the garuda vahanam . Harinie offered it via a varnam, ‘Aadhiyugaththayan kandida nindra arul varadan’. If her depiction of Garuda vahanam was spectacular, the way in which she offered the episode of Gajendra Moksham, during which the merciful Lord flies on his mount Garuda to rescue the elephant king Gajendra from the clutches of the crocodile, was shifting. The elephant experiences ache and concern when his leg is caught by the crocodile, and is exhausted. But, it continues to attraction to Vishnu, who rescues him. Gajendra lastly finds divine liberation. Together with her nimble actions and intense abhinaya, Harinie introduced the scene alive.
Harinie concluded her presentation with the charama shloka from the Bhagavad Gita, ‘Sarva dharmaan parityaja’ that ends with the phrases ‘Maa shucha:’ (These two phrases, that means ‘Don’t concern’ are inscribed on the appropriate hand of Kanchi Varadaraja). The message is, ‘Give up unto me, leaving every part.
The idea and choreography have been by Harinie, with Chitra Madhavan and Sudhavalli Sri as useful resource individuals. The recorded orchestra was of top of the range — her guru Sheela Unnikrishnan’s nattuvangam, Srikanth Gopalakrishnan’s emotional-laden singing, Guru Bharadwaaj on the mridangam, Nandini Saigiridhar on the violin, B. Muthukumar (flute) Anjani Srinivasan (veena) and Sankara Sastrigal (Veda chanting).
