Spending an entire evening watching the abhinaya prowess of seven senior artistes belonging to different dance styles was a delightful experience. Titled ‘Tamrapatra Live’, this enchanting performance was based entirely on Annamacharya’s compositions and curated meticulously by the renowned Ananda Shankar Jayant. The ambience of the Kalakshetra auditorium, with its historic and serene setting, heightened the rasanubhava, making the event an unforgettable artistic rendezvous.
In 2010, the ambitious task of setting to tune 108 uncomposed kirtanas of the revered Annamacharya in 108 different ragas was undertaken by musician Sathiraju Venu Madhav. With an earnest desire to popularize these musical gems, Ananda Shankar Jayant, together with Anupama Kylash, launched a year-long online series. This extensive online endeavor culminated in a full-length, live performance, bringing these kirtanas to life in the mesmerizing locale of Kalakshetra.
The evening began with a breathtaking performance by Vaibhav Arekar. Sitting on the banks of the river Krishna, he depicted Krishna reminiscing about the precious moments spent with Radha before his departure to Dwarka. ‘Will I see her again,’ he wonders. Vaibhav’s sterling abhinaya captured the depth of Krishna’s emotions, particularly in a poignant sequence where the dancer writes down his feelings on a lotus leaf and places it gently on the water. The delicate interplay between narrative and expression left the audience spellbound.
Next, the focus shifted to the character of Radha through the kirtana ‘Ati shobiteyam’ (raga Sama), performed by Gopika Varma. Her portrayal of Radha’s myriad emotions was both graceful and nuanced. The depiction of the seven hills in the final moment was particularly captivating, highlighting her abhinaya prowess and her adeptness in conveying complex emotional landscapes with finesse.
Continuing the theme of divine love, Deepika Reddy performed the kirtana ‘Ekkuvatakkuvaleevo’ in raga Behag, illustrating the companionship between Alamelumanga and Venkateshwara. Through a vibrant and joyous presentation, Deepika captured the moments of their togetherness brilliantly.
. Her piece concluded with an elegant oonjal (swing) sequence, exploring episodes of the Vamana avatar and Amritmanthan in the traditional Kuchipudi style.
The performance took a deeply emotional turn with Anupama Kylash’s portrayal of a nayika’s yearning for her lord after their separation. Her exquisite mukhabinaya perfectly encapsulated the nayika’s longing and heartbreak. Special moments included the imagery of a withering lotus and the poetic comparison between a heartbeat and a bird’s fluttering wings, evoking a visceral response from the audience.
One of the highlights of the evening was Sathyanarayana Raju’s transformation into a sakhi (a female friend) carrying messages between Alamelumanga and Venkateshwara. Clad in a colorful costume, his graceful and engrossing performance made the audience forget that the sakhi was being portrayed by a male dancer. His portrayal was lauded for breaking gender conventions in dance while keeping the essence of the narrative intact.
Ananda Shankar Jayant herself took to the stage for an exploration of the six seasons through the composition ‘Kaalamularunu’ in raga Vasantha. The dynamic presentation vividly depicted the unique features of each season and the changing landscapes, symbolizing the cyclical nature of time and its effect on the human experience. Her performance was a dynamic interplay of form and rhythm, encapsulating the beauty and temporality of nature.
The evening concluded with an intense and philosophical performance by Sharmila Biswas. Through the composition ‘Aatavaari guditawara’ in raga Kedaragowla, she delved into the metaphysical theme that every human being is merely a puppet in the hands of the supreme. Her portrayal was both profound and poignant, leaving the audience in deep contemplation about the larger truths of existence.
Curating such a visually and emotionally engaging dance presentation posed a challenge, especially without incorporating nritta (pure dance). However, the experienced dancers succeeded in sustaining the audience’s interest with their powerful abhinaya (expressive dance). Their collaborative effort provided a stunning and compelling showcase of Annamacharya’s kirtanas, demonstrating the timeless relevance and emotive power of his compositions.
Published – September 25, 2024 05:06 pm IST
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