SPECTACULAR EXPOSITION OF OJAS
Renowned classical dancers from Bangalore, Sangeet Natak Akademi awardees Nirupama and TD Rajendra performed along with the Abhinava dance ensemble, ten female dancers and two male dancers. Showcasing stunning choreographies set to soul stirring original music by composers Praveen D Rao, Pravin Godkhindi and Dr Mysore Manjunath at the exquisite studio theatre of Nita Mukesh Ambani Cultural Centre in Mumbai on June 18. The programme was entitled Ojas – spectacular and beautiful exposition of the different numbers, executed with a high degree of proficiency and aesthetic quality, combining graceful elements of Kathak from the north and the sculptural Bharat Nrityam from the south, enriched by rare karanas from the Natyasasta with scholarly resource from Shatavadhani Dr R. Ganesh and literature drawn from Dhrupad, and Swathi Thirunal, creating a mesmerizing impression on the audience.
The performance commenced with Angahara, garland of movements from the Natyasastra. Lord Shiva is embodiment of sound, movement and silence. The journey of the descent of music from the damru, from the complex words to the primordial sound of “Omkara”. “Shuddha Nada” – external ornamentation, ‘aharya and angika’ to subtler external state of ‘satvika’. Angahara clelverly combines the rhythm in the kathak style by Rajendra, to the contrasting lyrical and graceful movements in the Bharata Nrityam style elegantly performed by Nirupama. The aerial and earthly movements of the legs known as ’Karanas’ along Nritta Hastas and four Angaaharas - Brahmari Apaviddha, Parivrittarechita and Suchvidha. Besides the divine intervention, it was amazing to watch two distinct styles, being performed simultaneously with effortless ease and precision. The music for Angahara was composed by Praveen D Rao with Dhanashri Dhana for music adaptation.
Leela was the fine jugalbandi of Bharat Nrityam and Kathak, the two styles reveal their unique attributes before dissolving into sublime oneness – mirroring how all creation from a single divine source. This was in Dhanasree Raag Thillana also treated in Hindustani music rendered as Tarana To watch Nirupama and Rajendra dancing in fine symmetry and harmony of movements is sheer joy for the spectators.
Nature – Abhisaar, Nature comes alive as the river flows forward from the mountain springs to the vast ocean – a beautiful symbol of the soul’s eternal search for union. Executed with elegant and spontaneous moves with melodious music Shakuntala – is a delightful twist with a new perspective based on Kalidas Shakuntala interpreting the love story of Shakuntala and Dushyant A miscevious bee narrates the romatic tale to a cluster of Flowers, blending tender love(sringara) with playful laughter(Hasya). Each number has its own artistic flavour and entertainment value but Shakuntala stood out for its unusual perspective, the vision of the bee who tries consistently to entice Shakuntala with his buzzing sound and she is completely irritated but Dushyant intervenes and the bee is driven away . This aspect was quite dramatic and entertaining. The role of buzzing and agile bee was played by Abhilash Udupa quite well.
No Strings explored the movements of Kathak with the Carnatic violin music, infused with contemporary sensibilities, evoking the eternal quest for peace and fulfilment. Bahurang(many colours) is a breathtaking burst of hues ad harmony of movements, where tradition meets innovation and classical elegance dances simultaneously with a contemporary approach exposisng the complex rhythmic Kathak with dazzling footwork, breathtaking pirrouttes. Ojas transformed ancient wisdom into a luminous, heart opening experience of culture and radiant vitality.
The dancers of the ensemble were Rohini Prabhath, Medha Varkhedi, Ragini Prajwal, Apoorva Rao, Maanvi Ramprasad, Pooja Arya, Nidhaga Karunad, Spruthi Ashok, Saanchi Behre, Sanchita Shenoy and Dhriti Bhide Lighting by Ajay Vijendra and wardrobe by Santhosh N. The music for Abhisaar was provided by Pravin Godkhindi with Tarun Bhattacharya on Santoor and Shubhankar Banerjee on Tabla.
Comments