Poet Kumaranasan’s works find their way into a Mohiniyattam performance

Priya S Nair selected the poem Duravastha
| Photograph Credit score: Particular Association

Most Mohiniyattam performers of their effort to current one thing new, don’t appear to be paying a lot consideration to conventional items.

Therefore, ’Kavya nritarchana’, primarily based on three outstanding works of legendary Malayalam poet Kumaranasan, made for a pleasant watch. Conceptualised by guru Kalamandalam Sugandhi, it was organised by BEAME (Financial institution Workers’ Arts Motion) at TDM Corridor in Kochi.  The passages introduced included a mixture of authentic poetry and diversifications.

Duravastha, Nalini and Leela speak about love from a social perspective. Kumaranasan’s poetry is widely known for its message of social renaissance, wealthy creativeness and romanticism. His affiliation with Narayana Guru mirror in his verses.  

Savitri, the heroine of Duravastha, is a Namboothiri girl, who flees when her home is looted and her household is killed throughout the Mappila mutiny . Priya S Nair portrayed Savitri, who seeks shelter in a Dalit youth Chathan’s hut and falls in love with him. However for the few nritta segments thrown in between, the piece was dominated by performing and drama. The non-metrical construction of the tailored poetry, which bordered on prose, was not set to rhythm, barely diminishing the influence of the efficiency. The vinyasam phase, the place Savitri teaches alphabet and Math to a distracted Chathan, was attention-grabbing, exhibiting the character’s transformation.  The presentation closed with the well-known traces ‘Mattuvin chattangale’ (change the norms). Priya’s costume too exhibited the change. There have been prints on the normally plain off costume costume.

Guru Sugandhi is thought for her efforts in codifying the adavus of various Mohiniyattam fashion. One of many earlier college students of Kalamandalam, she has labored intently with the veteran dancer-scholar Padma Subramaniam, finding out hastas and karanas, and has translated the latter’s work Bharata Kala Lakshanam into Malayalam. 

Kalamandalam Sisira and her evocative Leela
| Photograph Credit score:
Particular Association

Kalamandalam Sisira got here up with a putting efficiency in Leela.  Leela will get separated from her lover Madanan as she is married off to a different man. However her husband dies quickly after. Sisira shifted roles with ease, portraying Leela, Madanan and her husband with equal flourish. Throughout an opportunity assembly, Madanan fails to recognise Leela. He later commits suicide by drowning within the Narmada; Leela follows go well with. Sisira internalised and expressed Leela’s feelings. The entire efficiency was introduced as a monologue by Leela’s soul, strolling alongside the Narmada, urging the river to inform her story. 

Devika and Sudha Atmaram in Nalini
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Particular Association

Nalini, with its philosophical overtones, is arguably Kumaranasan’s best-known and admired work.  Devika and Sudha Atmaram donned the roles of Nalini and her ascetic-lover Divakaran. Nalini adopts yogic practices after being rescued by a yogini from a suicide try. She meets her childhood sweetheart Divakaran, who’s now an ascetic. 

The nayika entered the stage with a gait that follows Kundanachi tala, which is native to Kerala, and a mixture of khanda and misra nadais. 

Divakaran is stunned on the yogic transformation of Nalini, who remains to be pining for his love. 

Devika Atmaram conveyed effectively along with her expressions
| Photograph Credit score:
Particular Association

The climax sees Divakara yogi serving to Nalini on her path to salvation. The dramatic highpoints weren’t utilised effectively on this piece.  Nevertheless, the dialogue between the 2 characters, although brief, communicated the theme successfully. ‘Snehamaanakhilasaaramoozhiyil’, Asan’s traces that extol love’s dominance within the universe, introduced the dance piece to a climax.