Keeping the tradition of introducing young artistes to connoisseurs of the Capital alive, India International Centre recently presented Arunima Sengupta Basu from Kolkata and the dancing duo Archana and Chetana from Bangalore in their IIC Double Bill concert.
Aptly titled, the event presented a double indulgence for the rasikas to view high classical arts of Kathak and Bharatanatyam with a tinge of regional flavours.
The evening began with Kathak by Arunima, a student of Gurus Luna Poddar and Pt. Rajdendra Gangani. Presenting the much revered text excerpts from Ramayana, the dancer depicted various stages of Lord Rama’s life including those of intense hardships and the ultimate establishment of Ram Rajya.
Musically composed and choreographed by Pt Rajendra Gangani, the piece coaxed the audience to meditate upon the unparalleled standards of Lord Rama, eluding any literal translation of the saga. On being asked about her association with the stalwart guru and her thoughts on Guru Shishya tradition, the dancer commented, “Our parampara entails a lifelong bonding between the teacher and the disciple, whereby the disciple becomes an integral part of the guru's family, rendering service to his guru in all possible way, in return of the knowledge imparted by the maestro that incorporates a complete education both about the subject and about life as a whole.”
“Mora Saiyaan Bulawe Adhi Raat Ko” was another piece in bhav paksha of the dancer. This thumri, a rendition by late Jayeeta Pandey, explored the charted waters of the virahini nayika waiting to be one with her beloved and exuding immense joy on receiving an inkling of his call to meet her. With deft qualities of a dancer, Arunima managed to evoke the sense of separation by ending her piece in a tragedy, when the heroine, unable to cross the flooded river, shatters into deep grief. Interspersing with, paran, tukras, high velocity pirouettes, and vilambit and drut laya tatkar, the dancer chose to draw curtains on her recital.
Next in the lineup were Bharatanatyam dancers Archana and Chetana; students of Guru B.Bhanumati, Sheela Chandrasekhar, and Devaki Narasimhan. Also evoking the Vaishanavite deities Rama, Krishna, and Vishnu, the dancers titled their presentation: 'Sarvam Krishnamayam'.
Commencing with a composition of Arunachalakavi, Yen Pallikondirayya in ragas Mohana and Kapi set to Adi tala, the allegorical piece asked the Anant Shayan Lord Vishnu the reason for his tiredness. Is it because of the innumerable duels with demons in his avatar as Krishna, is it because of the long walks during vanavasa with Sita as Lord Rama, is it because he lifted Govardhana Giri to protect the people from the wrath of Indra as Bala Gopala?
Archana and Chetana commented that both guru and the student have better understanding of each other’s capabilities with one- on-one mentorship, which in turn helps the guru tap full potential in students, “Unlike the academic education system, in the art scenario student learns from the same guru for long durations lasting 15 to 20 years or more. We don’t just learn the art from them but also the way of life and in the years to come develop a beautiful parental bond with them.”
Succeeding with a Padavarna as seen through the eyes of Rukmini, the piece extolled the magnificence of Krishna. Beautifully expressed by Archana and Chetana, the piece explored Krishna’s various exploits like Gajendra Moksha, Draupadi Cheerharan, Raas in Vrindvan; laced all throughout with jathi patterns executed in a neat style in raga Khamach Adi tala.
The duo chose to conclude the evening with a Devaranama, Kadagolataarenna set to Yamankalyani raga in Adi tala. A pleasant change from reciting the heroic and lovelorn epics of Krishna, the dancers presented this soothing vatsalya rasa piece where little Krishna takes away the churning stick of Yashoda, making her plead and coax him with much wit. With Yashoda's enticement of Bala Gopala with balls of butter and bowls of sugar, the evening came to an end leaving a sweet flavour of these mythical tales with the audience.