Geetha-Vadya-Nritya, a way of Kalopasana

– By Aparna Kodankiri

On July 23, Nadavidyalaya Academy of Music and Dance had organised a unique presentation ‘Geetha-Vadya-Nritya’ at Sri Nadabrahma Sangeetha Sabha in the royal city, Mysuru. As per the name itself, students of Nadavidyalaya presented Karnatak vocal music, instrumental and a special bharathanatyam concert ‘Saathvikabhinaya.’ The quote ‘Geetham vaadyamcha nrityamcha trayam sangeethamuchyate” would perfectly fit since this recital was treat for eyes, ears, ultimately for the soul.

In the beginning, Trisha Kulkarni (Houston, USA), disciple of Vid. M.S. Naveen, presented Karnatak classical vocal concert. She steadily started with ‘Jalajaakshi varnam’ composed by Subbayyar in raga Hamsadhwani vilamba aditala. By picking up the pace, Trisha melodiously praised Lord Ganapathi through Vadiraaja’s composition ‘Gajamukha Vandisuve’ set to naata raga khanda ekatala. Muthiah Bhagavatar’s one of the amazing composition ‘Sudhamayi’ set to amruthavarshini raga roopaka tala was executed very well and the small jugalbandi between vocalist and violinist perfectly balanced.

Later, Purandaradasa’s famous composition in which our mind is compared to a mud pot ‘Tarakka bindige’ in tillang raga trishra ekatala came out tunefully. The very next was the famous bhajan ‘Shri Ramachandra kripalu bhajamana’ of Tulasidasa set to Kalyani raga mishrachaputala where audience lost in the sweet voice of Trisha. As a perfect ending to Geetha concert, Trisha sung Tillana ‘Geethadrinikutaka dheem’ in Dhanashri raga aditala of Swati tirunal maharaja. This was the first time Trisha, from past five years of learning under Vid. Naveen through online classes, had sung in front of audience, yet she had been trained so well that she perfectly managed to captivate the minds.

The second major step of this evening Vadya concert. Trisha on western violin and Yeashas N. Kashyap, disciple of Smitha Shrikiran, the Director of Taranga, on flute presented a fusion. It started off with varnam ‘Evvari bodha’ of abhogi raga Aditala followed by bilahari jatiswara  aditala. Thyagaraja’s one of the well-known compositions ‘Samajavaragamana’ in Hindola raga aditala was played in a perfect synchronisation.

Continued by ‘Mudakaraatta modakam,’ ganesha panchakam in ragamalike, composed by Aadi Shankaracharya. In the end, Purandaradasa’s ‘Bhagyada Lakshmi baramma’ in madhyamavathi raga aditala shined like the jewel on the crown. Geetha and Vadya concert was accompanied by Vid. Dasappa on mridanga and tabla, Vid. Purushottam on keyboard, Vid. Gurudath on rhythm pad, and Vid. Chetan on violin which enhanced the beauty of the prog.

The final mile stone of the day was ‘Saathvikaabhinaya.’ It was a unique bharathanatyam presesntation where 14 disciples of Vid. Mithra Naveen performed Shloka, four Padam, seven Javali and Astapadi, portraying their strength in abhinaya. First of all, Deepa S. Narayan put her heart in expressing bhakti through two shlokas — ‘Ramo nama’ and ‘Vamshi vibhushitha.’ Next, series of Padams were enacted. Srishti enacted sweeya praglabha dheera nayika who was in agony because of the separation of nayak  in ‘Yeamataladina’ composed by Muvvanalluru Sabhapathayya set to Yadukula kambhoji raga mishrachapu tala. The nayika, who is angry on nayaka’s act of cheating, pierce nayaka with sharp words which was skillfully presented by Deepthi Sudhir through Kshetrajna’s padam ‘Rammanave’ in raga athana. S.V. Poornashree ably presented feelings of wife who is gloomy without the news of well-being of her beloved nayaka through another Kshetrajna’s padam “Bhamaro Napaini” set to saveri raga mishrachapu tala. Last among the padam’s was “Ninnu joochi” of Kshetrajna set to varali raga mishrachapu tala by Bhavya Urs where she depicted a nayika’s mixture of feeling when she sees her nayaka after a long time. Javali is such a nritya bandha where usually samanya nayika is described. S. Harshitha illustrated nayika who is proud of her nayaka and believes that he is above all others in javali composed by Dhramapuri Subbarayar ‘Smarasundaranguni’ in pharaz raga aditala.

Continued by ‘Idene sakhi’ of venkataramana ramarao in raga behag aditala in which Meghana showcased nayike who is waiting for Nayaka by decorating her entire living area and herself and also suffering the pain of separation. Next comes ‘Virahatapa’ where nayika is in a state that she can’t bear that pain of viraha anymore, performed by Ritu Venkatesh which was a fine piece of music of Narahari Achar set in desh raga mishrachaputala.

Bengaluru Nagaratnamma had composed ‘Matdabaaradeno,’ representing a nayika who suffers an unimaginable pain by the silence of her dearly loved nayaka proficiently performed by P. Rachitha. Followed by ‘Sakhiprana’ one of the master piece of Dhramapuri Subbarayar set to Jhanjooti aditala in which Moulya presented a nayika who doubts that her nayaka might be cheating her. Sahana Patil with her gifted expression described nayika requesting her friend to help her to bring back her nayaka who might have cheated her in javali ‘Prana natha baradhoda’ of venkataramanyya in suruti raga trishranade aditala. ‘Mathuranagarilu’ one such unique javali of patnam subrahmanya ayyar pictures parakeeya nayika who is determined to sell her milk n butter yet wants to be with her nayaka  was well presented by Harshitha Amruth. This Javali also pictures the dheeralalitha nayaka Krishna.

The dheeralalitha dakshina nayaka — Sri Krishna — who is prankishly precise in his thoughts and gestures was cleverly enacted by Aparna Kodankiri. As a concluding presentation, C. Navyashree excellently showcased Radha in virahothkanthitha avastha through Jayadeva’s astapadi ‘Nindati chandana’ was highly impressive. These dance presentations bloomed with the perfect blend of music provided by Guru Vid. Naveen Andagar on vocal, Guru Vidu. Mithra Naveen on natuvangam, Vid. Daasappa on mridanga, Vid. Thyagaraja on flute. Thus theme ‘Geetha-Vadya-Nritya’ justified.

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