ರಮ್ಯತೆಯ ಸಿಂಚನ- ಕಥಕ್ ಮತ್ತು ಒಡಿಸ್ಸಿಯ ‘ಮಲ್ಹಾರ್’ ನೃತ್ಯವರ್ಷ
-ವೈ.ಕೆ.ಸಂಧ್ಯಾ ಶರ್ಮ
ಖ್ಯಾತ ‘ಶುಭಂ’ ನೃತ್ಯಶಾಲೆಯು ಅಂತರರಾಷ್ಟ್ರೀಯ ಮಟ್ಟದಲ್ಲಿ ಹೆಸರು ಮಾಡಿರುವ ಕಲಾವಿದೆ-ನಾಟ್ಯಾಚಾರ್ಯ ಬರ್ನಾಲಿ ಸರ್ಕಾರ್ ನೇತೃತ್ವದ ವಿಶಿಷ್ಟ ಸೇವೆಯ ಸಂಸ್ಥೆ. ಒಡಿಸ್ಸಿ ಮತ್ತು ಕಥಕ್ ಉಭಯ ಶೈಲಿಗಳಲ್ಲಿ ಪ್ರಾವೀಣ್ಯ ಪಡೆದ ಬರ್ನಾಲಿ ಅವರು ಜೆ.ಪಿ. ನಗರದಲ್ಲಿ ನೂರಾರು ಮಕ್ಕಳಿಗೆ ತಾವು ಕಲಿತ ವಿದ್ಯೆಯನ್ನು ವಾತ್ಸಲ್ಯದಿಂದ-ಬದ್ಧತೆಯಿಂದ ಧಾರೆ ಎರೆಯುತ್ತಿದ್ದಾರೆ. ಪ್ರತಿವರ್ಷ ವಿಶೇಷ ಕಾರ್ಯಕ್ರಮಗಳನ್ನು ಆಯೋಜಿಸುವ ಇವರು ಪ್ರಯೋಗಶೀಲರು. ಇತ್ತೀಚಿಗೆ ‘ಶುಭಂ’ -ಶಂಕರಾ ಫೌಂಡೇಶನ್ ಆಡಿಟೋರಿಯಂ ನಲ್ಲಿ ‘ಮಲ್ಹಾರ್’ ಎಂಬ ಶೀರ್ಷಿಕೆಯಲ್ಲಿ ವರ್ಷಋತುವಿಗೆ ಸಂಬಂಧಿಸಿದಂತೆ ಕಣ್ಮನ ತುಂಬುವ ನೃತ್ಯಾವಳಿಗಳನ್ನು ಏರ್ಪಡಿಸಿತ್ತು. ಈ ಕಾರ್ಯಕ್ರಮವು ಕಥಕ್ ಮತ್ತು ಒಡಿಸ್ಸಿ ವಿಷಯಗಳಲ್ಲಿ ‘ಶುಭಂ’ ವಿದ್ಯಾರ್ಥಿಗಳ ವಾರ್ಷಿಕ ಪ್ರತಿಭಾ ಪ್ರದರ್ಶನಕ್ಕೆ ಸಾಕ್ಷಿಯಾಯಿತು. ವಿದ್ಯಾರ್ಥಿಗಳಿಗೆ ಸಂಗೀತದ ಶ್ರೀಮಂತ ಅನುಭವವನ್ನು ವಿಸ್ತರಿಸಲು ಮತ್ತು ಶಿಕ್ಷಣ ನೀಡಲು ಶುಭಂ ಅಧ್ಯಾಪಕರು ಪರಿಶ್ರಮಿಸಿ, ಅವರಲ್ಲಿ ಹುದುಗಿದ ಪ್ರತಿಭೆಗೆ ಅಭಿವ್ಯಕ್ತಿ ನೀಡುವ ಪ್ರಯತ್ನ ಇದಾಗಿತ್ತು.
ಪ್ರಸ್ತುತಿಯು ಸಾಂಪ್ರದಾಯಿಕ ನೃತ್ಯ ಸಂಯೋಜನೆಯೊಂದಿಗೆ ಶುಭಂ ಮಾಡಿದ ಹೊಸ ನೃತ್ಯ ಸಂಯೋಜನೆಗಳನ್ನು ಒಳಗೊಂಡಿದ್ದವು. ಅದ್ಭುತ ಸಂಗೀತಗಾರರ ತಂಡ ನೃತ್ಯಾವಳಿಗೆ ಪೂರಕವಾಗಿ ಸಂಗೀತವನ್ನು ಒದಗಿಸಿತ್ತು. ಶ್ರೀ ಗಣೇಶ್ ದೇಸಾಯಿ – ಸಂಗೀತ ಸಂಯೋಜನೆ ಹಾಗೂ ಗಾಯನ, ಶ್ರೀ ಸೌಭಾಗ್ಯ ನಾರಾಯಣ ಚತ್ರೇ – ಮರ್ದಲ, ಶ್ರೀ ಕಾರ್ತಿಕ್ ಕೃಷ್ಣ – ತಬಲಾ, ಶ್ರೀ ನಿರಂಜನ ಹೆಗಡೆ – ಕೊಳಲು, ಶ್ರೀ ರುತ್ವಿಕ್ ರಾವ್ – ಸಿತಾರ, ಶ್ರೀ ಸೌರವ್ ಮತ್ತು ಶ್ರೀಮತಿ ದೇಬೋಲಿನಾ – ಸಹಗಾಯನ ನಡೆಸಿಕೊಟ್ಟರು. ಶುಭಾರಂಭಕ್ಕೆ ಮನಮುಟ್ಟುವ ಮಳೆಯ ಮುದವನ್ನು ಧ್ವನಿಸಿದ ಸೊಗಸಾದ ಹಿಂದೂಸ್ಥಾನಿ ಕೃತಿಗಳು ಮತ್ತು ಕನ್ನಡದ ದೇವರನಾಮಗಳು ಕಿವಿದುಂಬಿದವು. ಹೊರಗೆ- ಮಳೆಗಾಲದ ಮೋಡ ತುಂಬಿದ ವಾತಾವರಣ, ತುಂತುರು ಹನಿಗಳ ರಂಗೋಲಿ ಬರೆದ ತಂಪಾದ ಪರಿಸರಕ್ಕೆ ತಕ್ಕಂತೆ, ಅರ್ಥಪೂರ್ಣವಾಗಿ ಕಣ್ಮನ ತುಂಬಿದ ಕಥಕ್ ಮತ್ತು ಒಡಿಸ್ಸಿ ನೃತ್ಯಗಳು ನಲಿವು ತಂದಿತು. ಇಡೀ ನೃತ್ಯ ಕಾರ್ಯಕ್ರಮ ‘ವರ್ಷಕಾಲದ ವೈಭವ’ವನ್ನು ಎತ್ತಿ ಹಿಡಿಯುವ ಪರಿಕಲ್ಪನೆಯಲ್ಲಿ ರೂಪುಗೊಂಡಿತ್ತು. ನೃತ್ಯದ ಚಲನೆಗಳು, ಧ್ವನಿ ಪರಿಣಾಮಗಳು, ಸಂಗೀತದ ವರ್ಷ ಹರ್ಷದ ಮಳೆಗರೆದು ನೋಡುಗರನ್ನು ಸಂತಸದ ಸೊನೆಯಲ್ಲಿ ತೊಯ್ಯಿಸಿತು. ನೃತ್ಯದ ಪ್ರತಿ ವಿನ್ಯಾಸದ ನಡೆಯೂ ವೈವಿಧ್ಯಪೂರ್ಣವಾಗಿ ಸುಮನೋಹರತೆಯನ್ನು ಚಿಮುಕಿಸಿತ್ತು. ರಂಗದ ಮೇಲೆ ವರ್ಣಮೇಳದ ನವಿಲುಗಳ-ಹರಿಣಿಗಳ ನರ್ತನ-ಚೆಂದದ ಯುವಕ-ಯುವತಿಯರ ರಸಪೂರ್ಣ ಬಾಗು-ಬಳಕುಗಳ ನೃತ್ಯದ ಲಾಸ್ಯಧಾರೆ. ಮಳೆ ಹನಿಗಳ ಚಿಟಿ ಪಿಟಿ ಸದ್ದು, ಕಣ್ಮಿನಿಗಿಸುವ ಚೆಂಬೆಳಕಿನ ಮಿಂಚಿನ ಹಿನ್ನಲೆಯಲ್ಲಿ ಸಾಗಿದ ಸಂತಸದ ಹೆಜ್ಜೆ-ಗೆಜ್ಜೆಗಳು ಕಲಾವಿದರ ಖುಷಿಯನ್ನು ಹಂಚಿತು. ವರ್ಷ ಋತುವಿಗೆ ಅನ್ವರ್ಥಕವಾಗಿ ತೆರೆದುಕೊಂಡ ನೃತ್ಯಧಾರೆಯಲ್ಲಿ, ಸುಮಾರು ನಲವತ್ತಕ್ಕೂ ಹೆಚ್ಚು ಮಂದಿ ಉದಯೋನ್ಮುಖ ನೃತ್ಯ ಕಲಾವಿದರು ಆಕರ್ಷಕ ವೇಷ-ಭೂಷಣಗಳಲ್ಲಿ, ಸುಶ್ರಾವ್ಯ ಗಾಯನ-ವಾದ್ಯಗೋಷ್ಠಿಯ ಹಿನ್ನಲೆಯಲ್ಲಿ ರಂಗದ ಮೇಲೆ ಮನಕ್ಕೆ ತಂಪೆರೆಯುವ ಸಾಮರಸ್ಯದ ನೃತ್ತ-ಆಂಗಿಕಾಭಿನಯ- ಸುಂದರಾಭಿನಯದ ಮಳೆಹನಿಗಳ ಸಿಂಪಡಿಕೆಯ ಚಮತ್ಕಾರದಲ್ಲಿ ಮುದ ತಂದರು. ಕೆಲವು ಕೃತಿಗಳಲ್ಲಿ ಗುಡುಗು-ಮಿಂಚಿನ ಝೇಂಕಾರ, ಬಿರುಸಾದ ಮಳೆಯ ಸದ್ದು, ಕಾರ್ಮುಗಿಲ ಅನುಭವ ಮೂಡಿಸುವ ಮಿಂಚಿನ ಸಂಚಾರದ ಪಾದಗತಿಗಳು, ತತ್ಕಾರಗಳ ಸೊಗಡು, ಚಕ್ಕರ್ ಗಳ ಮಿನುಗು ಎದ್ದು ಕಂಡಿತು. ಕಲಾರಸಿಕರನ್ನು ಸಂತೋಷಗೊಳಿಸಿದ ನೃತ್ಯವೈಭವ ‘ಮಳೆಗಾಲ’ದ ಅನೇಕ ಚಿತ್ರಣಗಳನ್ನು ಮೂಡಿಸಿ ಸಾರ್ಥಕ್ಯ ಕಂಡುಕೊಂಡಿತು.
ಒಡಿಸ್ಸಿ ನೃತ್ಯಶೈಲಿಯ ತ್ರಿಭಂಗಿ, ಚೌಕ, ಮೀನಪೂಚ ಪಾದದ ವಯ್ಯಾರ ನರ್ತನದ ಸುಂದರ ನೋಟ, ನವಿರಾದ ಚಲನೆಗಳು, ಮೋಹಕ ನೃತ್ತಗಳು, ನರ್ತಕಿಯರ ಲೀಲಾಜಾಲ ರಂಗಾಕ್ರಮಣ, ನುರಿತ ಅಭಿನಯದ ಚಾತುರ್ಯ, ಅನನ್ಯ ಭಂಗಿಗಳು ಹೃದಯ ತುಂಬಿದವು. ಊರ ಹೊರಗಿನ ಮರಗಳಿಗೆ ಕಟ್ಟಿದ ಉಯ್ಯಾಲೆಯಲ್ಲಿ ನಲಿವಿನಿಂದ ಜೀಕುವ ಹೆಣ್ಣು -ಗಂಡುಗಳು, ಪ್ರಣಯಿಗಳ ಜೋಡಿ, ಬಣ್ಣ ಬಣ್ಣದ ಲಂಗಗಳನ್ನು ತೊಟ್ಟ, ನಡು ಬಳುಕಿಸಿ ಕುಣಿವ ವಯ್ಯಾರಿಯರು, ಪ್ರೇಮಿಗಳು ಮೈಮರೆತು ಸಂಭ್ರಮಿಸುವ ದೃಶ್ಯಗಳು ಒಂದೇ ಎರಡೇ. ಎಡೆಬಿಡದೆ ಒಂದೇ ಸಮನೆ ಸುರಿವ ಮಳೆಯಿಂದ ಕಂಗೆಟ್ಟ ಸಮಸ್ತ ಜನ-ದನ-ಕರುಗಳನ್ನು ಸಂರಕ್ಷಿಸುವ ಶ್ರೀಕೃಷ್ಣ ತನ್ನ ಕಿರುಬೆರಳಿನಲ್ಲೇ ಗಿರಿಯನ್ನೇ ಎತ್ತುವಂಥ ಅನುಪಮ ಪವಾಡದ ನಾಟಕೀಯ ಸನ್ನಿವೇಶಗಳು ಅನಾವರಣಗೊಂಡವು. ವರ್ಷ ಋತುವಿನ ಕುರಿತ ಕೃತಿಗಳನ್ನು ರಮ್ಯವಾಗಿ ಹೆಣೆದು, ಸೊಗಸಾಗಿ ಪಡಂತ್ ನಿರ್ವಹಿಸಿ ‘’ಶುಭಂ’’ ಶಾಲೆಯ ಯಾತ್ರಾ’22 ರ ಮೊದಲ ಅಧ್ಯಾಯವನ್ನು ವಿಷಯಾಧಾರಿತ ನೃತ್ಯ ಪ್ರಸ್ತುತಿಯ ಸಂಯೋಜನೆ ಮತ್ತು ಪರಿಕಲ್ಪನೆಯನ್ನು ರಂಗದ ಮೇಲೆ ಯಶಸ್ವಿಯಾಗಿ ಸಾಕಾರಗೊಳಿಸಿದವರು ಗುರು ಶ್ರೀಮತಿ ಬರ್ನಾಲೀ ಸರ್ಕಾರ್.
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Suswaralaya College of Music
23rd Anniversary Grand Annual Music Festival
– Report By Hariharan M B & R Varalakshmi
Suswaralaya College Of Music® headed by Ganakalashree Vid H S Sudhindra celebrated its 23rd anniversary with a grand music festival at Srirama Lalitha Kala Mandira from 29th Oct to 1st Nov. Vid Dr V Krishna inaugurated the festival. Vid Nuggimukki Ramachandra Rao was felicitated on the occasion of his 75th Birthday. “Swaralayarathna”, an award instituted in memory of Smt Bangalore Nagarathnamma, was conferred on Vid N R Prashanth by Sangeetha Kalarathna Vid D Balakrishna. Vid M Vasudeva Rao felicitated and conferred the title of “Swaralayashrunga” on Vid C N Chandrashekar. The inaugural function was followed by a scholarly talk on exploring inner meanings of popular Haridasa Keerthanas by Vid H Champakadhama. He chose “Taarakka Bindige” of Purandara Daasaru and unravelled the deeper philosophy in the song beautifully. Evening proceedings began with a well-coordinated laya vinyasa (Tala – Kanda Triputa) by Sri C Sudheendra, Sri D Vijayanand, Chi Tejas Srivaths Manmohan & Chi Adithya B Prahlad. Vid Hariharapura K Abhiram impressed the gathering with his rendering of Inthachala (Begade) Varna, Pranamamyaham(Gowla) and a power packed Thodi (Aragimpave – Thyagarajaru). He had great support from Vid R Karthikeya (Violin) and his brother Vid Hariharapura K Abhijith(Mridanga). Next was a wonderful concert by seasoned duo Vid Kavitha and Vid Triveni (Saralaya Sisters) that was filled with several interesting and rare compositions like Omkara Pranava(Dr Balamuralikrishna’s Varna in Shanmugapriya), Ekadantham(Bilahari), Merusamana (Mayamalavagowla), Pranamamyaham (Ranjani – Mys Vasudevacharya), Bhogeendra Shayinam(Swati Tirunal), Lalithe Sripravruddhe (Lalgudi Pancharathna-Bhairavi), Maitreem Bhajatha. Main item was a detailed purvikalyani followed by the grand Dikshithar Kriti Ekamranatham Bhajeham with neraval and swarams. The concert was elevated by excellent support by Vid Vaibhav Ramani (Violin) along with seasoned percussion duo Vid Manoj Siva (Mridanga) and Vid Bhagyalakshmi M Krishna (Morsing) who also played an enjoyable thani avarthana.
Day 2: Sri Harishankar V Menon gave an appealing Sampradaya Bhajans concert, accompanied by Sri Shyam Mahadevan on Harmonium and accompanied on Mridangam by Sri R S Pranav, Chi Srikara Shivakumar, Chi B S Sarwajith & Chi R Sudhanva that concluded with a crisp thani avarthana. Next was an stunning Laya Vinyasa in Tala Ganamurthi (Mela tala) by Vid Mysore A Radhesh (Mridanga) and Vid Shamith Gowda (Ghata) excellently accompanied by Vid Keshav Mohan kumar (Violin) and Vid S Manjunath (Thala). They presented a Pallavi in Raga Ganamurthi followed by Thani Avarthana in this intricate tala. 1 avartha (22 Aksharas) of this tala comprises of Angas 1 Laghu, 2 Anudrutha, 1 Laghu, 1 Drita Virama, 1 Guru and 1 Anudrutha. Popular vocal and dance artiste Vid Sumitra Nitin presented a spectacular lecture-demonstration on Contribution of Tanjore Quartet to music and dance. She spoke briefly about the family and musical tutelage of Tanjore Quartet brothers – Chinnaiyya, Ponnaiyya, Shivanandam and Vadivelu who were direct disciples of Muthuswamy Dikshithar himself. She highlighted several compositions of theirs and also elaborated on their significance in kacheris as well as in the dance arena. Some compositions presented were Mayatheetha Swaroopini (Mayamalavagowla – Ponnaiyya), Amba Souramba (Arabhi – Ponnaiyya), Manavi Kaikonna (Shankarabharana–Pada Varna), Saamiyai Azhaithu Vaadi(Kamach Varna- Ponnaiyya), Saami Ninnekorinaanu (Ragamalika Padavarna- Ponnaiyya), Saamiyai Azaithu (Kalyani-Pada Varna-Shivanandam), Sarasijanabha(Kambodhi-Vadivelu), Tillana(Sankarabharana-Ponnaiyya) etc. The evening program started with a short Laya Vinyasa (Kanda Chapu) by Sri Shivaram S, Sri B J Santhosh, Sri Vishnu Raghunathan, Sri G Chandramouli and Chi Diganth Bhat. Vid B S Madhusudhan & Vid Vasuki Parimala presented a lively Violin Duet recital that featured Sarasuda (Saveri Varna), Mahaganapathim (Nata-Dikshithar) with brisk swaras, Ganamurthi (Ganamurthi) and an enchanting Shanmugapriya (Vallinayakane) followed by thani avarthana. They got solid support by energetic percussion duo Vid Sai Vamshi (Mridanga) and Vid B S Raghunandan (Ghata). Swaralayarathna Awardee Vid N R Prashanth’s astonishing concert featured compositions of several prolific composers. He started his concert with a melodious Hindola Varna of Tanjore Shankar Iyer ‘Mal Marugan Murugan’ followed by Ganapathe (Janaranjini – Muthiah Bhagavathar), Saraswathim Bhagavathim (Hamsavinodini – Jayachamaraja Wodeyar), Jnanamosagaraada (Poorvikalyani – Neraval and swara at Paramathmudu), Neethan Thunai Neelambari (Ragamalika – N.S. Chidambaram), Gowreeshaaya Namaste (Aarabhi – Dikshithar), Vinathasutha (Jayanthasena-Thyagaraja), Shree Krishnam bhaja manasa satatam (Thodi-Dikshitar) with Neraval and swara at Shankha Chakra Gadha. The concert was elevated by an excellent and lilting accompaniment by Vid Dr Nishanth Chandran (Violin), Vid J Vaidhyanathan (Mridanga) and Vid Sunad Anoor (Khanjira). Audience were enthralled by an energetic thani avarthana. Concert concluded with Ninna mana degulava (Madhuvanthi – Bellary Sheshagiri Achar), Hamsanandi Thillana (Srimushnam Raja Rao), Man madandhai (Sourashtra-Mangalam).
Day 3: TRK Brothers (Vid R V Abhishek and Vid R V Akshay) started off their concert with an uplifting Saveri Varna (Sarasuda) in 4 speeds, followed by a soothing Parvathi Ninune (Kalgada – Shyama Shastri), Raghuvamsha Sudha (Kadanakutoohala). The main piece, Manasa Etulo (Malayamarutha) with an elaborate Alapana, Neraval and swaras at Kalilo Raajasa Taamasa was impactful. An enjoyable thani Avarthana by the percussion duo Vid B J Shrinivas (Mridanga) & Vid R Vishwanath (Ghata) followed. Vid S Janardhan’s accompaniment on the Violin was impressive. Swaralayashrunga Awardee Vid C N Chandrashekar presented a mellifluous Violin solo concert featuring compositions like Vanajaaksha (Kalyani-Atta Tala Varna), Vallabha Nayakasya(Begade), Aparadhamula (Rasaali), Gurulekha Yetuvanti (Gowrimanohari), Shara shara Samarai (Kuntalavarali), Maravairi ramani (Naasikabhooshini-Thyagarajaru), Marivere gatiyevvaramma (Ananda Bhairavi-Shyaama Shaastri). A detailed exposition of Madyamavathi was followed by Saint Thyagaraja’s Rama Katha Sudha with Neraval, swaras. Vid Anoor Ananthakrishna Sharma (Mridanga) and Vid Chandrashekar Sharma (Ghata)’s energetic accompaniment and a thunderous thani avarthanam lifted the concert to greater heights. The concert concluded with the popular Venkatachala Nilayam (Sindhubhairavi) of Purandara Dasaru.
Day 4: The day started with a crisp Laya Vinyasa by the students Chi Nipunn, Chi Abhishek Balakrishna, Chi Sanjay Sudarshan, Chi Akshaj Anil, Chi Adisesha, Chi Srikar Janardhan alongside Vid B Srikar Rao (Konnakol and Thala) in Adi tala. Vid D Shashikala presented an authentic demonstration on Varieties of Pallavis (RTP). For the benefit of a novice, she very briefly put forth the typical features and basic rules of Pallavi singing and then went on to sing several pallavis in a variety of thalas. Some pallavis presented were in “Suswaralaya Ganakokilapriya Bhava Raga Tala Mridanga Sahitha” (Kokilapriya – Kh Triputa, also in S Jhampe-Tisra Nadai), RTP in Simhanandana Thala (One of Ashttothara Shata Thala) and Kalyani Raga, RTP in Rathnangi Thala (One of Mela Thalas) and Rathnangi Raga, RTP in Sankeerna Matya (Mishra Nadai) and Gowrimanohari (Showing sahitya set in 3 speeds in basic structure itself), RTP in Hamsanaadha Thala (Short One of Ashttothara Shata Thala) – Hamsanaadha Raga, Thodi Raga-Dwi Nadai Pallavi (Mishra Triputa Thala – Tisra Nadai/Khanda Nadai in Raga Thodi), Ragamalika Pallavi and one in Kannada Language on the occasion of Rajyotsava. One could only be amazed at her command and fluency over the subject and she sang very intricate pallavis with ease and impressed the musicians, students and rasikas alike. Simply splendid. MR Ghatams is an all-ghatam ensemble formed with an idea of exploring Melody & Rhythm on the divine instrument Ghatam, hence the name. Seasoned artists Vid N Guruprasad, Vid G Chandrashekara Sharma, Vid N Rajaraman and Vid Trichy Krishnaswamy presented an energetic Laya Vinyasam that consisted of composed items as well as individual rounds of thani avarthana. After their customary invocatory composition (set to SRGP of Mohana Ragam), they went on to play Mishra Chapu and Adi Tala where individual rounds were in different nadais like Tishra, Kanda, Mishra and Sankeerna. This was very interesting and informative program for the assembled students, musicians and rasikas. Evening began with a neat Laya Vinyasa (Rupaka Thala) by little masters Chi Sripad N Srivatsa, Chi Aniruddha Krishna, Chi Hiranmay Sharma, Chi NJMK Lakshmeesha Bhat & Chi Siddharth. Vid M Chinmayee presented a beautiful vocal recital that featured T Chowdaiah’s Krithi Prasanna Ganapathe (Bahudari), Naadupai (Madhyamavathi), Marivere Dikkevarayya Rama (Lathangi), Ninnuvina Sukhamugaana (Todi – Thyagaraja) as main with alapana, neraval, swaras and thani avarthana. She was well supported by Vid D R Raghavendra (Violin) and Vid K M Likhith (Mridanga). Vid TVS Mahadevan began his lilting concert with PraNatosmi devam Vinayakam (Nata – Tulasivanam) followed by Entha bhagyamu (Saranga), Baaro Venkata Ramana bhaktara nidhiye (Saveri – Purandara Dasaru), Shree Ranganaathaaya Namaste (Dhanyasi – Dikshithar), Amma Ravamma (Kalyani with neraval swara at TAmarasa) and Tanayuni Brova (Bhairavi) was elaborate with alapana, neraval, swaras at Vatsamu. The concert was enhanced by brilliant accompaniments – Vid H N Bhaskar (Violin), Vid Srimushnam V Raja Rao (Mridanga) and Vid N Guruprasad (Ghata). An outstanding thani avarthana received thunderous response from the audience. The concert concluded with Vayuputrane (Behag), Eppovaruvaro (Jhonpuri) and Western Note. All Laya vinyasas were well structured to be crisp and effective and had very good coordination between the students. Each of the lecture demonstrations had unique features that gave very good material for learning to all attendees. Concerts on all days were both educative and entertaining. Presence of many musicians and good connoisseurs in large numbers added a lot of energy and made the music festival a memorable one. This event in full is available for music lovers to view on youtube channel ‘Suswaralaya’.
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The Whitefield Folk Festival
Shubha Nagarajan
Whitefield, once an Anglo-Indian village, and now a sprawling suburb occupied mostly by the IT sector, became a Hub for dance on the 12th and 13th of November 2022 as The Whitefield Folk Festival presented by Sarani The Whitefield Dance Collective and Yakshadegula in association with Nexus Whitefield mall, lived up to its theme of “Celebrate Dance, Celebrate Community” Despite being a neighborhood that loved the arts, there was a void in quality art events when compared with older neighbourhoods of Bangalore such as Malleswaram and Banashankari. As the name suggests, Sarani has become a path to a collective platform for all things dance in Whitefield and it seeks to create a wide, educated audience base and expose students of dance to quality performances. Sarani, formed by a group of 8 women, who believed that the arts are a great way to bring communities together. They have tried to make this happen through hosting chamber concerts/studio showings, lecture demonstrations, workshops and documentary showing, interaction with artists and much more in the Whitefield area. The pandemic has severely affected the artist community. Folk artists, in specific have been deprived of opportunities to perform and their source of income has dwindled. When Sarani the Whitefield Dance Collective and Yakshadegula, a Bangalore based organisation founded by K. Mohan to popularize and bring innovation to traditional art forms, decided to bring some of these artforms and artists back on stage in grandeur on this Kannada Rajyotsava, it was team Nexus Whitefield mall that backed the idea and came in full support of the event. Over 200 artists ranging from 6 years to 65 years presented authentic and traditional folk dances not only from across Karnataka but also from different regions of India.
It was a melange of colors as hundreds of artists from organisations like Yakshadegula, Kathegararu, Ranga Chaaraka, Puppet House ( Mysore) and Yashaswi Kala Vrinda came together to present over 20 folk art forms that showcased the various dance forms of Karnataka. It was a rare opportunity for Whitefield residents to see the variety of art forms curated and presented by Yakshadegula, like Yakshagaana, Kamsaale, Ranga Kunita, Veerabhadra Kunita, Keelu Kudre, Kolata, Sootrada bombe aata, Somana kunitha and Hulivesha in one event. There’s has been a significant migration of people to Whitefield in the past 5-10 years, where they formed new, eclectic communities. The people, single families separated from their villages and traditions, got a chance to bond as they presented 13 folk dance forms from their own regions, including Bihu from Assam, Thiruvathira from Kerala, Gidda & Bhangra from Punjab, Kolattam from Tamil Nadu, Sambalpuri from Odisha , Ghoomar from Rajasthan, Gondhal from Maharashtra, the Maibi Jagoi from Manipur and Hori from UP. Thus, the Whitefield Folk Festival helped bind people to their communities, foster and reinforce a group identity and give a sense of belonging and cohesion in an urban space.
Many centuries ago, dance was presented under a big tree in a village or during temple processions, where people could easily congregate and watch. In urban areas, it is often the mall that becomes an area for congregating. The atrium at Nexus, Whitefield, took the role of the village crossroads and the people got a single point to cater all needs:shop, get entertained, and unwind. The younger audience had fun at the Yakshagana face painting booth and traditional games stall set up by Indian Shades. At display, were stalls selling authentic handloom sarees and fabrics brought directly from the weavers from the villages of Karnataka. The Folk Festival this year also brought different sections of the community into its fold as Sarani has always worked for inclusivity in the arts. The opening performances on both days of the Whitefield Folk festival were by the children of the local government school who won the hearts of the audience with their dances, The Gana and the Garba. The nurses who do stellar work at the Karunashraya hospice presented an energetic harvest dance from Kerala.
Thus The Whitefield Folk Festival was not only a dance extravaganza, but also a beautiful potpourri of different cultures and communities, both in its performers and its audience which thronged to the festival heralded by the highly energized inaugural percussion cum dance from the Dollu Kunitha. But over the next two days all these different groups bonded, experiencing a blurring of the self in the synchronization with the beats and the finale to the festival was when all the different groups of dancers and the audience joyfully danced together as one!
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