An enchanting performance by Himabindu & group

A Kuchipudi performance by Himabindu Kanoj and troupe for Secunderabad Club was presented recently. Himabindu, along with students Srivalli and Sriranjani, opened with “Gajaananayutam Ganeshwaram” in Vegavahini ragam, a composition by one of the divine Trinity of Carnatic music, Mutthuswami Deekshitar. The song is in praise of Lord Ganesha, the remover of obstacles.

The composer described Lord Ganesha being worshipped by Brahma and Indra, saying that the Lord’s lotus-like feet are revered by Bhutaganas, and praises his skill in vanquishing the demon Kunjara. The composer mentions that he is the elder brother of Guruguha, and is in the form of Pranava.

The next item by the group was a beautifully portrayed piece of sculptural poses. “Jaya Jayahe Bhagavathi Surabharathi” in Pantuvarali ragam, a musical composition rendered in praise of Saraswati, the goddess of learning and knowledge. It describes her as the goddess of music. Revered in all the three worlds, she is described having navarasas as her jewels and eloquent in poetry. Radiant like the full moon, she is portrayed holding the book of knowledge in one hand and the veena in the other. She is worshipped for uprooting ignorance from our minds and filling it with knowledge.

“Cheliye Kunjanamo” was performed by Himabindu in Brindavana Saranga. Composed by Maharaj Swathi Thirunal, this keerthana beautifully describes the romantic tussle between Lord Krishna and Radha. Radha is asking Krishna to go to the arbour and says “Krishna! Look how full and beautifully the Yamuna flows. How can you not go?” She is holding Krishna’s hand, not letting him go away. She is asking him to listen to the song of the cuckoo and inquiring what it says. Himabindu exquisitely depicted this item with eloquent abhinaya full of the tender love between Radha and Krishna.

The final item was the “Vasanta Tillana”, a predominantly rhythmic composition. It was a brisk and lively number where the dance comprises of the nritta aspect (pure dance). Mostly comprising of a single repetitive line, with rhythmic syllables set to tune and melody, the rhythm sequences were followed by moments when the dancer froze in a pose. All the items were choreographed by Himabindu.

By:Anna Rao Gangavall