How Annamacharya kirtanas are a treasure trove of emotions

Anupama Kylash, Deepika Reddy, Gopika Varma, Sathyanarayana Raju, Sharmila Biswas, Vaibhav Arekar and Ananda Shankar Jayant at ‘Tamrapatra Stay’ at Kalakshetra Basis.
| Picture Credit score: SRINATH M

Spending a complete night watching the abhinaya prowess of seven senior artistes belonging to totally different dance kinds was a pleasant expertise. Titled ‘Tamrapatra Stay’, it was based mostly completely on Annamacharya’s compositions and curated by Ananda Shankar Jayant. The atmosphere of the Kalakshetra auditorium heightened the rasanubhava.

Vaibhav Arekar
| Picture Credit score:
SRINATH M

In 2010, musician Sathiraju Venu Madhav set to tune 108 uncomposed kirtanas of Annamacharya in 108 ragas. With a need to popularise them, Ananda Shankar together with Anupama Kylash launched a year-long on-line sequence, which culminated in a full-length efficiency.
Seated on the banks of the river, Krishna, earlier than departing to Dwarka, reminiscences the gorgeous moments spent with Radha. ‘Will I see her once more,’ he tells himself. The whole state of affairs and the gamut of feelings got here alive in a superb presentation by Vaibhav Arekar. One of many highlights of his visualisation was the sequence the place the dancer pens his emotions on a lotus leaf and lets it float gently on the water.

Deepika Reddy
| Picture Credit score:
SRINATH M

The main focus then shifted to Radha within the music ‘Ati shobiteyam’ (raga Sama) carried out by Gopika Varma. The myriad shades of her feelings had been portrayed with grace and finesse. The ultimate second, depicting the seven hills was attention-grabbing.

Gopika Varma
| Picture Credit score:
SRINATH M

Describing the bond between Alamelumanga and Venkateshwara in raga Behag was the kirtana ‘Ekkuvatakkuvaleevo’. Deepika Reddy captured these moments of companionship by way of a vibrant and joyous presentation. The piece resulted in a fantastic oonjal sequence. Episodes of Vamana avatar and Amritmanthan had been elaborated in her dancing in Kuchipudi model.
A nayika’s craving for her lord after their separation offers dancers immense scope to discover feelings, and Anupama’s beautiful mukhabinaya captured all of it. The imagery of a wilting lotus and the comparability between the heartbeat and the sound of a fowl’s fluttering wings made for some particular moments .

Anupama Kylash
| Picture Credit score:
SRINATH M

Clad in a vibrant costume, Sathyanarayana Raju, grew to become the sakhi carrying the message from Alamelumanga to Venkateshwara. His portrayal was so sleek and engrossing that one forgot it was a person dancing.

Sathyanarayana Raju
| Picture Credit score:
SRINATH M

The union of the lord and his consort was proven by way of an exploration of the six seasons by Ananda Shankar Jayant within the composition ‘Kaalamularunu’ in raga Vasantha. The distinct function of every season and the altering landscapes had been explored by Ananda by way of a dynamic presentation.

Ananda Shankar Jayant
| Picture Credit score:
SRINATH M

Ending the night on a philosophical word, Sharmila Biswas focuses on the concept of how each human is a puppet within the arms of the supreme, by way of an intense portrayal within the composition ‘Aatavaari guditawara’ in raga Kedaragowla.

Sharmila Biswas
| Picture Credit score:
SRINATH M

It was a problem to curate a dance presentation with out nritta, it’s right here that the expertise of the dancers got here into play. Collectively they sustained viewers curiosity with their highly effective abhinaya.