Thematic Odissi performance and vocal concert by well-known artistes marked the second and third day line-up of women’s Day celebrations

Smitalay, spearheaded by Jhelum Paranjape, celebrated women’s day at Ravindra Natya Mandir Main Hall. Having showcased many women centric themes by in-house and invited artistes, this twenty fifth year Women’s day celebration was significant.

“The first year, I, along with my team presented my choreography with all women musicians — vocal, violin, sitar, harmonium and even the mardal (percussion). The stage décor too was handled by a woman,” recalls Paranjape.

This year the performances by the team was presented in three segments, incorporating select glimpses of three of their full length productions: Bahinabai, Narmada and Leelavati; segments of new work in traditional classical format: Siva naman, a pallavi, and a solo abhinaya piece inspired by the abhangs of Marathi saint poet Chokha Mela and other socially relevant productions — Jalasri, Farm to Jungle and Bollywood.

Jhelum Paranjape and team

‘Bahinabai’ was an illiterate farmer woman but a natural poet. Her son wrote down the flowing poems, out of which two were presented to sample her lyrical genius. River Narmada flowing happily, reacts when a dam is forcibly built across her and her waters are stopped, the tribals living on her banks are deprived. The questions of the river were posed through dance. Leelavati, based on the 12th century mathematical treatise written by Bhaskaracharya on his brilliant daughter, solved mathematical problems through Odissi format.

‘Jalasri’ carried the message of preservation of water and nature, while ‘Farm to Jungle’ was a perfect take on movements of animals and birds, both domestic and wild, by using English folk songs. Odissi through film songs was exhibited in two Bollywood numbers.

Shiva Stuti performed by Jhelum Paranjape and team as part of the Women’s Day celebrations

Creative choreography, intense delineation, perfect coordination in group movements, and in tune with the guru, the entire presentation was well fitted in the traditional framework. Jhelum proved that for a decidedly rounded artiste, fitting any genre into the traditional is a cakewalk. The costumes were suitable and colour coded, adding to visual appeal.

Diverse genres

Day three of the Women’d Day celebratrion featured Chandana Bala Kalyan who presented thematic concert ‘Marma.’ It was the hard work, coupled with talent and committed riyaz of singer Chandana Bala Kalyan that made her recital compelling.

“I had released a video a year ago, which paved way for all the material I was hoping to put together and present as ‘Marma.’ I am forever indebted to Late Sri Subbu Krishna, a Carnatic classical concert organiser. He offered me a chance to present a diverse set of compositions in different Indian light classical genres. My brothers Adamya Ramanand, Aditya Shenoy and Shadrach Solomon made this dream a reality, by relentlessly working on the compositions and enthusiastically joining me in my creative madness,” says Chandana.

Chandana Bala Kalyan

The Women’s wing of Shanmukhananda Sabha hosted ‘Marma’ at the Chandrasekarendra Saraswati auditorium, on the occasion of International Women’s day. Yoga guru Hansaben Yogendra was the chief guest of the evening when the women staff of Matunga Railway station were honoured.

‘Marma’ was diverse both with respect to the genres in which they were presented and in lyrical content. The opening Varnam in Shyam Kalyan, an original composition of Chandana, in Carnatic format was presented in a contemporary fashion. ‘Bhagawan twadeeya charanam,’ invoked the presence of the divine followed by ‘Aaj Biraj mein’ a traditional Holi geet, music for which was composed by Chandana in Desh. A series of philosophical pieces, ‘Mayamari’ by Kabir and a Kannada padam by Purandaradasa, madhura bhakti geet, Ashtapadi, a Qawwali, (Chaap tilak by Amir Khusro) and an abhang (Avgha rang ek zala by Soiree bai) were presented with full justice to lyric and melody.