Scintillating confluence

The dancers Rajeswari Sainath and Mangala Bhat ensured a divine evening where they transported the audience to the days of mythological lore.

A jugalbandi of Bharatanatyam and Kathak is a rare sight and occurrence in Hyderabad. And when dancers Rajeswari Sainath and Mangala Bhat teamed up it was a not just a scintillating confluence of different classical styles but a feast to the eyes. No wonder the auditorium of Ravindra Bharathi was jam-packed to see the eminent exponents of both the dance forms and renowned gurus of the city!

The stage had two beautifully lit lamps in the background and the two orchestras (Hindustani and Carnatic) on either side. Rajeswari and Mangala treated the audience to a breath-taking Sooryaashtakam to begin the concert. The two dancers were in perfect unison and tandem with each other as they paid obeisance to the Sun God. The music was exclusively composed by Rakesh Pathak for this recital and was in three raags – Bhatiyaar, Pattdeep and Purya Dhanashri which viewed the sun from sunrise to sunset.

The second item, the central piece of the concert was the Trimurthi – Brahma, the creator, Vishnu, the preserver and Shiva the destroyer. While Rajeswari performed solo for the Brahma piece, Mangala portrayed Krishna (Avatar of Vishnu). For Shiva the duo came together in exquisite harmony. The music stood out for the Brahma piece as it was specially scored by Seshadri Ganapatikal from Madras University, Chennai. Rajeswari delineated Brahma’s life, and brought forth lesser known tales about the creator through her expressive abhinaya and brilliant footwork. This culminated with ‘statuesque’ poses. The dance was a vibrant one and Rajeswari excelled in it given her expertise and experience. On the other hand, Mangala’s thumri ‘Ankhiyan raseeli tori shyaam’ in Mishra Tilang was more an abhinaya piece. Although the traditional Kathak spins and rhythmic footwork were there, the abhinaya was predominant. Playing the nayika who is mesmerised by nature and later by Krishna’s bansuri Mangala gave a subtle performance excelling in the abhinaya bhava.

When the duo got together for Shiva in Shankara Srigiri, a composition of Swati Tirunal in Ragam Hamsanandi, Talam Aadi it was a sheer joy to watch them dance. It looked as though the Lord of Dance had descended as the two dancers weaved intricate patterns and blended both styles to depict it. Rajeswari’s depiction of Padmanabha was impressive. This Trimurthi item gave us some images from iconography too.

The thillana, (raga Soorya, a composition of Rajkumar Bharati) the finale, was an exquisite piece where the two dancers’ synchrony and symmetry was perfect. Their dexterous footwork was not just nimble but elaborate and stunning. One truly saw the wonderful blending of both the styles. The beauty and intricacy of both the dance forms was visible in the jugalbandi. The grace and elegance in the presentation was a noteworthy aspect. The singers and the orchestra enhanced the presentation with their music. The lighting too made a lot of difference. It was almost ‘divine’ and ‘surreal’ at times. As the chief guest Vimala Narasimhan, the first lady of Andhra Pradesh said, dance is linked to divinity and it is the highest form of devotion to the divine; the dancers aptly reflected that in their jugalbandi. All one can say is Encore Rajeswari Sainath and Mangala Bhat!