Hamara Spaces - PriyaLasya - Dance_Reports
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A preview about a Kuchipudi and Odissi programme - Samagati in Bangalore 
Introduction
'At the famous Prasanna VeerAnjaneya Swami Temple of Bengaluru, under the aegis of the Namma Bhavya Samaskruthi foundation, dancers Srividya Angara Sinha and Shweta Krishna come together to present SamAgati - a coming together of two of the most celebrated Indian classical dance styles - Kuchipudi and Odissi. Srividya Angara - PriyaLasya Space Srividya Angara learnt and studied Kuchipudi under the guidance of her Guru, Smt. Vijaya valli priya of Hyderabad. She majored in Computer science and engineering, and holds a diploma in Kuchipudi from the Telugu university. Under the keen eye of her guru, Srividya imbibed the strength of the Kuchipudi technique and the subtlety of abhinaya that is at the very heart of this dance form. Empanelled with the South Zone Cultural Centre and a graded artiste with Doordarshan, she will be presenting a mixture of her Guru's and her own choreographic pieces this evening. Shweta Krishna Shweta Krishna first started learning Odissi at Nrithyagram, the famed dance village on the outskirts of Bengaluru. She joined Sanjali Centre for Odissi dance established by Guru Smt. Sharmila Mukherjee in 2006. Sharmila didi as she is fondly called by her students, is a disciple of legendary Odissi Guru, Sri Kelucharan Mohapatra. At Sanjali, Shweta grew from strength to strength as an Odissi dancer, where she contributes today as faculty also. A graded artiste with Doordarshan, Shweta will today be presenting Guru Sri Kelucharan Mohapatra's choreographies, as taught by Guru Smt. Sharmila Mukherjee. The Programme -Invocation The evening begins with an invocation to Sri Maha Ganapathi - the remover of all obstacles and the purveyor of all prosperity. Conceptualized and choreographed by Srividya, this piece is a three-fold tribute to the Lord; beginning with the sloka 'Gajananam bhoota ganAdi sEvitam' followed by the Ganapathi kouthwam, both of which are in NAta rAga. The 'vandanam' concludes with the keertana 'Vinayaka ninu vina brochutaku', a composition in the Hamsadhwani rAga by Sri E V RAmakrishna BhAgavatAr. -Mangalacharan In the hallowed precincts of the Prasanna vIrAnjanEya swami temple, the next composition for the evening is dedicated to Sri Rama. Presented in the Odissi style by Shweta Krishna, is MangalAcharan... an invocatory piece which the dancers enters with flowers and asks for the blessings of Lord Jagannath after which, she salutes Mother Earth and the chosen deity before concluding with a trikhandi, ie salutations to the Lord, the Guru and the sabha. This Mangalacharan, dedicated to Lord Rama uses verses composed by the great Rama-bhakta Sri Tulsidas and has been choreographed by Guru Sri KElucharan MohapAtra. Sung in the rAga KEdAra to Eka tAla, the sloka goes on to say 'He, whose body is the color of a peacock's neck, whose chest bears the mark of the Sage Brighu, He who has lotus eyes and wears a yellow silk robe, He broke the bow of Shiva and won the heart of Sita. He is worshipped by the devout moneys, and by people everywhere. The pride of Raghuvamsha rides the Pushpaka Vimana with Sri Janaki by his side. -Sabdam One of the most celebrated stories of the Bhagavatha Purana is that of PrahlAda, the young boy who was an ardent devotee of Lord Vishnu and progeny of the fearsome Asura king (and Vishnu-hater) Hiranyakasyapa. PrahlAda's devotion to Vishnu, brings out the worst in Hiranyakashyapa unltimately bringing about the king's horrific death at the hand of the terrifying Sri Narasimha, fourth incarnation of Vishnu. This story is sung and danced to most joyously by the Kuchipudi bhAgavatArs, in the form of the PrahlAda PattAbhisheka sabdam, the coronation of PrahlAda. A traditional choreography that has been revisited and strung together in the Ragas Arabhi, Mohana, and Charukesi, the PrahlAda pattAbhisheka sabdam explores and exemplifies the Kuchipudi tradition of padyam (poetry) and gadyam (prose), alongside vAchika and sAttvikAbhinaya. - Pallavi Pallavi in Odissi means elaboration, an aspect applicable not only to nritta which is the pure dance aspect but also to the accompanying music that is set to a particular rAga. It stands out for its elegant and lyrical movements which are distinct and exceptionally intricate, comprising complex interwoven rhythmic patterns that emphasize on pure dance. Shweta Krishna presents pallavi in the Raag Saveri, and Ekataali, choreographic work of Guru Kelucharan Mohapatra.After the arduous movement of the Pallavi in the Odissi style, comes an expressional piece, a padam by composer Sarangapani; set in the raga Sahana, to misra chApu tala. - Padam Padas are languorous lyrical works describing different moods of the heroine or the NAyika. The padam to be presented today is "Magadocchi pilachenu", literally meaning "the husband calls (me)". The scene opens with the entry of a young maiden of Vrindavanam lost in loving thoughts of her Krishna. A rude knock on the door reveals a man her elders say is her husband who married her when she was too young to remember. Shocked and disconsolate, she realizes that that very night, she would have to bid good-bye to her beloved Krishna. How she finds the courage to move on forms the rest of the composition. - Ashtapadi - Shritha Kamala Shweta Krishna presents the penultimate piece for the evening - 'Shritakamala', an ashtapadi taken from Sri Jayadeva's Geeta Govinda in the Odissi style. Composed and choreographed by Guru Sri KElucharan MohapAtra, this piece is in the Kamaj rAga and Jati tAla. Sri Jayadeva describes Maha Vishnu as one resting on the mound of Lakshmi's breasts. He wears beautiful earrings, and a garland of wild flowers. He goes on to describe Hari as the destroyer of the poisonous snake Kaliya and extols Him as the delightful son of the Yadu dynasty. Vanquisher of the demons Madhu,Mura and Naraka, the Lord is seated on his vaahana Garuda and is the joy of the Gods and Godesses of the heavens. The verse goes on to describe Him as as the ornament of Sita, the one who killed the 10 headed Ravana, before concluding rapturously 'Victory to Hari...Victory to Hari....' - Jugalbandhi - Kuchipudi & Odissi The evening concludes in a joyous Jugalbandi in Kuchipudi and Odissi. Conceptualized and choreographed by Srividya and Shweta, under the watchful eye of Guru. Smt. Sharmila Mukherjee is 'TarAna', a composition by the legendary sitAr maestro Pt. Ravi Shankar. Set in the Hindustani tradition of classical music, this piece is in the Nata bhairavi rAga and Adi tAla. Register/Enquire Samagati, Kuchipudi & Odissi, September 2015, PriyaLasya, (C), Do Not Copy, Copyrights Acknowledged, Note- Views are of the contributor. |
