Ugadi celebrated with classical dance
The Secunderabad Club celebrated Ugadi with a Kuchipudi classical dance recital on 18th March. The festive occasion featured an outdoor stage with an elegant white backdrop, filled with dancers in ivory white and gold aharya with multicolored borders. Due to the height of the stage, the dancers gave the impression of ethereally flying through the air.
The artistes were from “Muvva Nritya Raga Nigamam,” an institute founded by their guru, Dr. Himabindu Kanoj. Fittingly, the opening item was ‘Gajananayutam Ganeshwaram,’ set in Vegavahini, performed by Meghana, Ujwala, and Laasya. This composition by one of the Trinity of Carnatic music, Muthuswami Dikshitar, praises Lord Ganesha, the remover of obstacles. The three dancers gracefully glided through poses depicting the Lord being worshipped by Brahma and Indra. His lotus-like feet are revered by the bhutaganas. The elder brother of Guruguha, in the form of pranava, is also the vanquisher of the demon Kunjara.
‘Shivashtakam’ is a majestic ode to Lord Shiva in Ragamalika. Composed by Adi Shankaracharya in reverberating stanzas, the various forms of Lord Shiva are enumerated. The exquisite choreographic framework of Vempati Chinna Satyam was brought out with fidelity in the complex, interlocking turning movements by Meghana and Ujwala. Lord Shiva is the benevolent one who destroys ignorance and grants wisdom, supporting the entire universe. The Lord of life is the annihilator of the ego. He wears a garland of skulls and is adorned with snakes. The destroyer of death is covered in ashes. He shares his body with Shakti and wears the moon on his head. All the embellished swaying, bending, and flowing motions that are the hallmark of Kuchipudi were beautifully contained in this item.
The next, contrastingly mellow item was a soothing, sweet melody excerpted from Ramcharitmanas. Glorifying the virtues of Lord Vishnu, the bhajan ‘Jaya Sura Nayaka’ contained ravishingly beautiful music. Laasya, Hasini, and Kini, in perfect synchrony, brought out the enumeration of the Lord’s glories: He is the delight of devotees, protector of suppliants, benefactor of cows and Brahmanas, slayer of demons, and the beloved consort of Lakshmi. The immortal Lord Mukunda is compassionate, omnipresent, and beyond all illusions. Truth and bliss combine in Him, who is meditated upon by multitudes of sages freed from delusion.
‘Rutuvulu’ (Seasons) was an enchantingly refreshing choreography. The salient features of every season were portrayed — the delight enjoyed in the soothing, cool shadows of canopied trees during summer; therelaxing feel of the first trickling drops of rain; fully blooming lotuses in winter; leaves shedding a golden-brown hue in autumn; and the rustling dry leaves of fall making way for new blossoms, indicating the joyful arrival of spring. Rutu Sobha sought to convey the message that the seasonal cycle is inviolate and must be preserved to protect the environment and save the Earth, our common dwelling place, for future generations.
This piece formed the crescendo and was performed by all six dancers — Meghana, Ujwala, Laasya, Hasini, Kina, and Anvita. As the dancers formed ranks and broke away into stylized moving patterns, resounding applause greeted them.
Maharaja Swathi Thirunal’s ‘Cheliye Kunjanamo’ was a haunting evocation of the romantic exchange between Radha and Krishna. Radha grasps Krishna’s hand tightly, urging him to visit the flowery arbor adorned with jasmine on the banks of the Yamuna, where they can share the happiness of togetherness. The flowing river is portrayed as a beckoning presence, and she asks him to interpret the meaning of the cuckoo’s song. Meghana and Ujwala were a sprightly duo who vividly brought out the vibrant atmosphere of the brief dialogue.
The concluding ‘Thillana’ in Brindavana Saranga was limited to the sahityam portion, which describes the adventurous stories of Radha and Krishna in Brindavan. Performed briskly by Meghana, Ujwala, Hasini, Kina, and Anvita, its ending brought forth hearty applause as a mark of the spectators’ appreciation.
All the pieces, except where mentioned, were creative choreographies elegantly conceived by Dr. Himabindu Kanoj.
