Three miniature dance dramas unfolded in fast succession on the Aadi Natya Samarpanam, held below the aegis of Bharatiya Vidya Bhavan, Mylapore. The well-curated works, celebrating the Tamil month of Aadi, have been an final result of the approaching collectively of inventive minds.
Deepa Ganesh, inventive director, Upasana, introduced collectively three senior academics — Sheela Unnikrishnan, Jayanthi Subramaniam and Anita Guha — hailing from completely different lineages, to current a vibrant garland for the goddess in her various kinds.
Deepa’s arduous analysis, below the steering of Tamil scholar S. Raghuraman, seamlessly unravelled the intricacies of the artwork type as if one took a time journey from the interiors of Tamil Nadu to its stylistic urbanised type and presentation.
Sridevi Nrithyalaya’s Aadi Aasarippu carried out at Bharatiya Vidya Bhavan’s Aadi Natya Samarpanam.
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SDN’s Insta deal with
An enthralling group of dancers from Sheela Unnikrishnan’s Sridevi Nrithyalaya introduced ‘Aadi Aasarippu’ as an ode to Shakti. The costumes, and the props used established a rural flavour. Significantly, the recorded music, transported one to a Amman temple in a village.
Karagattam carried out by the scholars of Sridevi Nrithyalaya.
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SDN’s Social Media web page
Whereas the people dance Kummi ushered within the Aadi celebrations, the dancers concluded their efficiency with Karagatam. Regardless of a couple of slips within the group patterns, the rigorous coaching and observe have been evident within the presentation. Each the Kavuthuvam and the edited model of Andal’s union together with her lord lent an ideal begin to the night.
The segments resulting in Andal’s union with Krishna have been well-conceived.
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SDN’s Social Media web page
Properly-executed theme
Classicism marked the presentation by the scholars of Jayanthi Subramaniam.
‘The Goddess Throughout Time’ showcased Her glory from the Sangam interval to Meenakshi Pillai Tamizh (seventeenth century). The choreography eulogised Devi’s energy, bravery, and victorious path. Warfare and weaponry have been strikingly portrayed by way of vibrant rhythm, deftly performed by mridangist M.S. Sukhi.
Jayanti Subramaniam’s ‘The Goddess Throughout Time’ carried out at Upasana’s ‘Aadi Natya Samarpanam’.
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Particular Association
Nandini Anand Sharma’s musical compositions and renditions for the ‘Kotravai vazhipadu’ recreated the heroic period of the Goddess. Jayanthi’s energy clearly confirmed in her nattuvangam.
In stark distinction got here the soothing ‘Ambulipparuvam’, the place the mom beckons the moon to come back and play together with her baby. ‘Chaturupayas’, or the 4 approaches of Sama, Dana, Bheda, Danda have been well-depicted by the 4 dancers in turns. A private statement is that whereas the moon’s place was steadily registered by way of the mukhabhinaya, the continued communication with the mounted drishti might have had intervening shifts. Although the essence of the composition got here by way of, mild nritta segments would have enhanced the affect.
Nandini Anand Sharma’s selection of ragas was apt for the temper that was step by step constructed to coax the moon. The selection of Yamuna Kalyani was a becoming begin. Jayanthi Subramaniam’s abhinaya coaching must be lauded
The efficiency highlighted how historical past and literature may be explored by way of the medium of dance.
Highly effective narrative
From the dance manufacturing ‘Sri Bala Tripurasundari’
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Bharatiya Vidya Bhavan
The dramatic shift to ‘Sri Bala Tirupurasundari’ by Anita Guha, who specialises within the conventional dance drama format, supplied a glimpse of the Goddess’ energy. Researching Lalitha Mahatmyam and different related texts, Anita got here up with a compelling narrative.
Vigorous nritta passages have been conceived to go well with the episodes. Depiction of the hamsam carrying the kid goddess and quite a lot of formations venerating her have been the excessive factors.
‘Sri Bala Tripurasundari’ was an ode to Shakti.
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Courtesy: Bharatiya Vidya Bhavan
P.R. Venkatasubramanian was the person behind the music ensemble. An integral a part of Anita’s productions, his help has been immense.
Anita ability in presenting the story in a concise method together with her giant entourage of dancers getting equal stage house wants a particular point out.
Segments similar to celebrating the Goddess within the type of a kid and a mom’s angst in ‘Sri Rajarajeshwari’ whereas permitting Sri Bala to struggle Bhandasura have been well-established. Nonetheless, the tonal shifts throughout the battlefield scene was jarring.
Musical rating and the lighting enhanced the enchantment.
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Courtesy: Bharatiya Vidya Bhavan
The lighting was subdued as Sri Bala Tirupurasundari emerged because the divine gentle!
Violinist Vishwesh’s fluid bowing and younger flautist Adwaith’s melodious enjoying in Jayanthi’s and Anita’s displays need to be complimented.
Aadi Natya Samarpanam drove residence the purpose that any celebration is incomplete with out artwork because it establishes a join between the world and the inside self.
