Bharatanatyam and Kuchipudi recitals celebrate devotion and divine stories
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Bharatanatyam and Kuchipudi recitals celebrate devotion and divine stories
Our Sacred Space, Secunderabad, recently presented dual solo recitals in Bharatanatyam and Kuchipudi. The Bharatanatyam artiste was Ridhishri Yadav, a student of eminent Guru Padma Shri Dr Ananda Shankar Jayant, while the Kuchipudi dancer was Nihanthri Reddy, a student of renowned Guru Padma Shri Dr Sobha Naidu.
Ridhishri commenced her Bharatanatyam recital with one of the acknowledged masterpieces composed by Maharaja Swathi Thirunal, ‘Bhavayami Raghuramam’. The composition encompasses the entire story of the Ramayana in its tersely composed stanzas, offering glimpses of all the important episodes. This iconic Carnatic piece in Sanskrit is structured as a garland of ragas. Each of its six charanams corresponds to one of the six kandas of the epic, beautifully summarising them.
Ridhishri’s trim figure, clad in scarlet and gold brocade aharya, gleamed on stage as she performed to the melodious refrain extolling Lord Rama of the Raghu clan, who is said to be imbued with humility and all virtues.
She went on to portray the Lord’s protection of Vishwamitra’s fire sacrifice and the slaying of asuras in the forest through elegantly executed nritta and abhinaya. The episode of Ahalya was poignantly depicted. The anga shuddhi of her stances was remarkable, marked by neatness and clarity of outline.
The breaking of Lord Shiva’s divine bow, Sita Swayamvara, and Rama’s destruction of Parasurama’s pride were presented as cameos of assured angika abhinaya, with each character coming vividly to the fore. It was as though the pages of the epic had come to life through her portrayal of the sancharis.
Manthara was exquisitely portrayed as an aged, withered, stooped crone filled with malice. As Rama, Lakshmana, and Sita depart for the forest to honour Dasaratha’s promise to Kaikeyi, they meet Guha. Bharata follows in anguish and has to be content with receiving Rama’s sacred padukas.
In Dandakaranya, Viradha is killed, and Panchavati becomes the scene of the fierce Soorpanakha’s troublesome passion. Ridhishri delicately mimed the demoness as she adorned herself to approach Rama. Her disfigurement by Lakshmana follows, and she falls to the ground lamenting.
The crouching, leaping, and bounding golden deer, Maricha in disguise, appears on the scene, leading to Sita’s abduction. Anjaneya and Sugreeva are introduced, and their friendship is cemented with the slaying of Vali.
When Sita is discovered by Anjaneya in Lanka and her crest jewel is brought back, the building of the bridge to Lanka follows, with Vibhishana joining Rama as an ally. Ridhishri’s nritta shone during the war that culminated in Ravana’s destruction. She was dazzling in her interpretation of the battle scenes, marked by lightning-fast movements.
The finale depicted the return to Ayodhya and the coronation of Sita and Rama, drawing enthusiastic applause from the audience.
Nihanthri appeared in a cream and red costume that suited her well. Both items in the Kuchipudi segment were dedicated to Lord Krishna.
‘Swagatham Krishna’, composed by Oothukadu Venkata Subba Iyer, celebrates the arrival of Lord Krishna, filling the hearts of Gokulam’s residents with joy. Through song and dance, the devotees lovingly enact Krishna’s divine leelas and recall the various incarnations of Lord Vishnu, beginning with Matsya and culminating in Krishna, the eighth avatara.
The melodious Mohana raga stirred the audience as Nihanthri demonstrated her command of the graceful, flowing movements of Kuchipudi. Fluidly blending nritta and abhinaya, she vividly presented the glory of Krishna.
The devotees immerse themselves in the Lord’s divine play, seeking liberation from worldly attachments and praying for moksha by surrendering themselves completely at His sacred feet. Nihanthri excelled in her perfectly balanced salutation stance at the conclusion.
The tarangam, ‘Nanda Nandana Gopala’, is taken from Sri Krishna Leela Tarangini by Narayana Teertha. Here, the mischievous aspects of Krishna take centre stage.
Nihanthri confidently portrayed child Krishna as he teased his mother, Yashoda. When his demands for butter are refused, he pretends to fall asleep. As soon as Yashoda is distracted, Krishna sneaks away, gathers his friends, forms a human pyramid, and reaches the butter pot, which he happily empties.
Nihanthri effectively evoked Yashoda’s bewilderment when she finally decides to affectionately give Krishna some butter, only to discover that the pot is empty. Krishna laughs, leaving his mother amused by his innocent mischief. All along, Krishna knew that the pot was empty but played along when Yashoda asked whether he wanted any butter.
The tarangam culminated in an elaborate display of complex jathis, with Nihanthri dancing on the rim of a brass plate. The Lord’s grace, energy, and childlike exuberance were symbolised in abundant measure.
As Nihanthri performed intricate and ornamental nritta patterns, loud applause greeted every flourish. Former DGP Sri A. P. Rajan and Dr Anupama Kylash graced the occasion as guests.
Our Sacred Space, Secunderabad, recently hosted dual solo recitals by Bharatanatyam artiste Ridhishri Yadav and Kuchipudi dancer Nihanthri Reddy, disciples of renowned gurus Padma Shri Dr Ananda Shankar Jayant and Padma Shri Dr Sobha Naidu, respectively. The performances brought alive the devotion, grace, and storytelling of the Ramayana and Lord Krishna’s divine leelas through captivating nritta and abhinaya
