Narration in two forms

AN INTERESTING event - parallel presentation of Harikatha and Bharatanatyam - titled ``Katha Bharatham'' was organised by Natyarangam of Narada Gana Sabha recently. It was a lively journey through the varied splendours of the twin forms of story- telling, both of which contain the same salient features - Iyal, Isai and Natakam.

``Katha Bharatham'', devised by the Natyarangam Committee deserves praise for its service to the cause of propagation and promotion, especially for the art of Harikatha. During this week- long celebration, Harikatha exponents, Kalyanapuram Aravamudan and Janakiraman, rendered expositions of the different themes, while seven well-known dancers offered the narration.

Mr. B. R. Kumar, Deputy Director General, All India Radio, Chennai, inaugurated the festival and honoured veteran dancer and teacher, U. S. Krishna Rao of Bangalore. Sudharani Raghupati offered felicitations. Pandanallur Srinivasan, mridangam accompanist for dance and composer, Sri Vidya Natarajan, senior disciple of Thanjavur K. P. Kittappa Pillai and Bikmouline Fail from Russia (Talent Promotion prize) and Nrithya (Best prize for Report on the Camp events of Natyarangam 2001 held at Tennangur) were the other awardees.

Katha Bharatham commenced with the thematic presentation of the epic, Mahabharatham, by Anurada and Sridhar (from Bangalore), dancing couple, known for their crisp productions with lively technique. Based on a lucid lyrical version, the theme was brought out with dignity.

The second day's presentation on Bhadrachala Ramadas by Preeti Vasudevan (disciple of the Dhananjayans) did not find its apt, parallel narrative in dance. One wondered if Preeti had fully grasped the basic principle of this event. What she presented was a narration of the compositions of Bhadrachala Ramadas in dance medium. The aspect of story-telling was totally absent in her performance. Also her dance was not totally Bharatanatyam - based. She used the nuances of other dance forms such as Kuchipudi (in certain Nritta sections) and Kathakali (in facial expressions and gesticulation). Also the innovative movement technique with orchestral accompaniment that Preeti performed at the commencement of her recital did not fit in at that point, nor did it help to reflect the mood or situation leading to the initial number, Taraka Mantramu. Only it showed that Preeti had attempted at incorporating modern dance techniques, from the West, which was totally uncalled for on that occasion. Further Preeti's handling of some of the compositions such as Taraka Mantram, Idigo Bhadraadri and the moving piece ``Ye Teeruga Nannu'' lacked involvement. The mimetic interpretation was also mere verbatim representation. Vanati Raguraman's vocal support was devoid of any emotion or spirit.

The portrayal of the King of Birds, Garuda (Vainateya) was the theme given to Vijay Madhavan, disciple of Chitra Visweswaran. Vijay adhered to the norms by closely following the thematic path set by the Harikatha exponent (Kalyanapuram Aravamudan). Vijay's skill and his powerful stage presence brought in the right note of grandeur, much appropriate for the content of the valorous divine mount of the all- pervading Maha Vishnu. However the use of some Ghana ragas for the musical content would have enhanced the performance.

On the following day that focussed on Sri Narayana Teertha's Krishna Leela Tarangini, Roja Kannan dealt with the theme of child Krishna, as explained in the Harikatha format, with clarity and ease, although the number of Gadyams used in this presentation were limited. The songs adapted for the dance format especially ``Harimeede,'' set in a Varnam-like format was well- done. Roja was able to establish the story-line through apt, mature abhinaya improvisations, set to orchestral segments. However, she could have avoided dramatisation at certain moments. With her skill for mature expressions, Roja could have taken to depiction of subtle reversal of characters while delineating the details of the different episodes of Krishna.

Revathi Ramachandran had ample scope to sketch out a lively portrayal of the story of Tiruneelakanta Nayanar, based on the exquisite, compositions in Tamil, some well-known, like ``Chidambaranatha,'' and ``Deena Karunakarane Nataraja,'' all of which were beautifully woven together in dance interpretation. A true spirit of joy and dedication prevaded through the performance of Revathi who revealed complete control over this thematic offering, exhibiting fine skill and experience in such endeavours.

The other themes featured during the event were Lalita Vijayam (Shobhana Balachandra) and Ramayanam (Shantha-Dhananjayan). V. V. Ramani had made his presence felt through the simple, but effective communication of the theme of the day with apt pin-ups, some hand crafted and beautiful icons like that of Garuda. A. V. Murali was in charge of the lights and audio. The valedictory function was presided over by the Judge of the High Court, Ms. Prabha Sridevan.

NANDINI RAMANI

Send this article to Friends by E-Mail

Section  : Entertainment
Previous : Hollywood icon of teenagers
Next     : Stage to switch over