Anuradha Vikranth, under the auspices of Drishti Foundation, celebrated the 14th annual national dance festival. She invited to Bengaluru Mayurbhanj Chhau dancers led by Rakesh Sai Babu, son of the traditional exponent, Janmejaya Babu. This was perhaps for the first time that such a large group of male dancers along with a few female dancers presented Mayurbhanj variety of Chhau dances in Bengaluru. The other group was of Vyjayanthi Kashi’s Shambhavi Dance Ensemble.
Anrudha’s own troupe presented Aikyam, the Supreme union. Trained by Narmada teacher Nirupama, Anuradha, over the years with thorough practice, has evolved as an accomplished Bharatanatyam dancer, a teacher and a choreographer. Aikyam conveyed the message of union of all family members, taking the metaphor of the mythological characters of Shiva, Shakti and their families symbolising the value of togetherness. Also, how we have to care of nature and establish harmony. It was interesting to see how along with their divine children Ganapati and Kartikaya, Shiva and Parvati explained to them how with the vahanas, the vehicles of theirs viz., a mouse and a peacock, the others like the serpent, the deer, the garuda, all otherwise enemies, remain together happily. The message of caring for trees as conveyed by a mother to her son was communicated well.
In flawless Bharatanatyam technique, the Tandava of Shiva and the Lasya of Parvati were choreographed and performed elegantly. The lighting was imaginative and created artistic illusions.
Since Anuradha has studied karanas also, she has employed them in her presentation. However those not used to watching karanas performed along with the other Bharatanatyam banis, often feel the karana movements look awkward. I suggest that in order to keep the banis separate, some items be choreographed using karanas and other major numbers be choreographed in bani which, say, the Narmada teacher has taught to Anuradha for the foundation. From the younger generation, Anuradha Vikranth has in Bengaluru created her own niche not only as a dancer, teacher and choreographer, but also as an able organiser of major large-scale dance events. With her husband T.M. Vikranth, who renders valuable service to the corporate sector for designing and for the Drishti Foundation in bringing out their artistic magazine. May the husband and wife duo grow and scale greater artistic heights.
Vyjayanthi Kashi’s Kuchipudi choreographic works are full of drama, reflecting the essential dance-drama nature of Kuchipudi. The well known story of Puthni, enacted by Vyjayanthi, with excellent patra pravesh daru for Puthni, created Brindavan, Yashoda and Gopis looking after Krishna. Puthni, arriving as a beautiful maiden, casts a spell on all and taking Krishna to her breasts on which she had anointed poison to kill Krishna. However Krishna sucked her life out and she falls on the floor, hitting Krishna with violent fists to remove him from her breasts. The climax was reached with full dramatic moment.
Vyjayanthi’s choreography of the story of young and dynamic princess of Kaktiya dynasty’s Rani Rudramma Devi was strikingly imaginative and within the boundaries of a traditional format. Prateeksha Kashi, as an energetic young princess stole the show for her abhinaya, learning the various martial arts, with sword, club and even looking straight into the eyes of warriors, piercing them with shining eyes, and engaging herself with tremendous confidence, annihilating the enemy soldiers and riding over the horse with such courage and speed that the audience burst out giving her a thunderous round of applause. Group choreography for the war was thrilling. The script was by Puspha Latha, the dance concept, choreography ,direction, narration and natuvangam were by Vyjayanthi Kashi.
The finale with a prayer, Vishnu reclining on a serpent and Lakshmi pressing his feet with the theatrical prop of the shesh serpent was quite stunning. Special mention must be made for the music by Drishti awardee P. Ramaa, which was melodious and built up the dramatic effect successfully.
The surprise of surprises was Mayurbhanj Chhau dancers from Trikaya Dance Company from New Delhi. In the Mayubhanj Chhau form, the dancers do not wear masks like the dancers in Seraikella and Purulia variety wear. The training of martial arts using weapons like the sword and shield has unique features. Known as Topka, Uflis and Bhangi, the dance vocabulary uses the leg movements to suggest the expressions. The torso moves in an undulating manner and the aerial jumps take one’s breath away. The male dancers enter with swords and without colliding with each other take rounds on the floor and in the air which speak volumes for their agility, art of attack and defence, and moving with a quicksilver gait.
The Hathiar Dhara number displayed this skill. It goes to the credit of the traditional dancers of Odisha to evolve the martial art into an exquisite dance form.
Rakesh Sai Babu has with imagination used the group choreographic numbers relying upon the Sanskrit shlokas on Lord Shiva. Nagendraharaya, Trilochanaya, Digambaraya epithets are danced with energy and force and also poetic sensibilities.
Equally engaging was the dance based upon the Ravana Stotra with its strong texture of text and use of syllables which suit the Tandava aspect. The dance form lends itself to such sahitya and offers scope to explore Tandava. The inclusion of a few choreographic numbers with female dancers balances the other aspect of Lasya, the delicate dancing.
The one group choreographic number titled “Aghori” drew attention to Lord Shiva’s form as a dancer performing in a cemetery with his Bhutaganas. The Tandava aspect was further highlighted.
The finale known as Natangi saw all dancers on stage with the original regional music used for Mayurbhanj Chhau. Whereas the original dhumsa, big drum and dhol, as well as Shehanai for music lend a rustic flavour, keeping them in mind, Rakesh Sai Babu, with the caution needed to use melodious tunes, without making it popular. The training of female dancers is most important as they break the monotony of male group dancers. The gender bias is also broken and the female dancers perform with equal energy.
Drishti Foundation deserves congratulations for bringing the Mayurbhanj Chhau form group dance to Bengaluru.
Drishti Foundation also honoured on this occasion legendary dancer Usha Datar for her lifelong contribution to dance, and Pustakam Ramaa, the vocalist whose contribution to music for accompanying Bharatanatyam dancers has been unique. The Pustkam title, as she explained was given to her grandfather by the Maharaja of Mysore when enemies attacked and were trying to destroy priceless volumes of shastras and literature; Ramaa’s grandfather protected that treasure. Therefore the title of Pustkam was bestowed upon Ramaa’s grandfather. Generally we all know her as P. Ramaa, a vastly gifted vocalist. The explanation for P for Pustakam was most interesting.
Shama’s comparing was excellent. Dr T.M. Manjunath, Anuradha’s father-in-law’s support was mentioned with grace as were the various institutions and persons who supported the festival generously. One looks forward to attending the next annual national festival with equal enthusiasm.
The writer is an eminent dance historian
