Of sensuous dance and sinuous grace

When Anupama Kylash danced in Saptaparni recently, the small and select gathering just sat and watched intently. It was meant to be so.

The presentation was for the discerning, who are into art appreciation and who whole heartedly encourage the earnest efforts of artists who want to showcase their art and share their experiences.

Anupama chose to present “Meyzuvani” (the word evolved from Persian, 'Mezban' means 'to host') the Chamber Concert tradition of the Telugu Devadasis, a beautiful but a forgotten genre.

Often arranged during the weddings and festive occasions in the olden days, Meyzuvani was a popular event, much sought-after by men who wanted to enjoy the pleasures of life (obviously!).

The repertoire of Meyzuvani consisted mainly of Shringara based songs like Padams and Javalis.

In an enclosed space filled with a select gathering, the dancer would connect instantly with her audience, who mostly happened to be “rasikas”.

They could fully fathom the meaning behind her gestures and expressions thatsometimes conveyed a subtle message to whom it was intended.

This unique Vilasini Natyam presentation was done while seated: it was the forte of the Telugu Devadasis, which they revelled in.

Anupama opened her concert with an invocation to Ganapati and Pashupati (taking from the Shaiva and Paancharaatra agamas) as part of the ritualistic temple tradition or Gudi Seva offered by the Devadaasis in the temple on festive occasions.

“Challanaaye lera naa manasu”, a Kshetrayya Padam ( in Dhanyasi) was performed seated in Meyzuvani style.

Here the Khanditha nayika speaks sarcastically to her lover Krishna, who has just returned from the other woman and is giving excuses for his absence.

The point in focus is the Vipareethaartha in her dialogue: "As you both so daringly and shamelessly walked hand in hand in the moonlight, while laughing in abandon- I watched all this tamasha but I am quite "cool" with it!”, she says while she's actually wreathing with anger- Anupama excelled in this piece.

“Kannavaride kaada” an Annamacharya song composed in the Javali format, described a Samanya Nayika who makes a fool of the wife of her lover.

“Chaalu chaalu vaadu leni janmamela”, an intense Padam of Annamacharya described the pangs of separation experienced by the Virahotkhantitha Nayika.

The highlight of the evening was the much awaited “company javali”–songs specifically written and composed to entertain special guests from the British East India Company; light and entertaining pieces with tunes inspired by the Celtic and Scottish bagpiper pieces; mainly in the Western major scale, mostly lyrics which were a combination of Telugu and English.

With a peppy beat, “Rajahamsa yaana ra” lingered long after the programme ended. Here, the friend of the Nayika asks Sri Krishna to come to the Nayika without further delay.

Swapna Sundari’s singing had the right dose of sensuality and suggestive charm. The “gaptu swaram” had a vintage filmy touch.

Anupama concluded with a padam on Lord Kukkuteshwara of Pithapuram describing the form, deeds, stories and philosophy behind the concept of Shiva.

The guest of honour, Dr Alekhya Punjala (Head- Dept of dance, P.S. University) spoke on the importance of Abhinaya in dance.

The evening was fulfilling bothfor the dancer and the audience, for,it is very rarely we get to see such specialised performances.