It was a joyful experience sharing stories, ideas and different episodes from our epics through Kuchipudi. Sharing a few pics from the event organized by Spic Macay.
There are many ways to express ones joy, love, gratitude… We do it by organizing events, inviting artists who have touched my heart… Mulam is an outcome of this.
We personally invite you to join us and be part of the celebrations on GURU POORNIMA, 9th July, morning 10am to 1pm and evening 6pm to 9pm @H N Kalakshetra, Jayanagar, 7th Block,Bangalore.The ENTRY TO THE EVENT is open to PUBLIC & FREE.
Kuchipudi performer Vyjayanthi Kashi performed “Deham Devalaya Proktam” in raga Megh Malhar, which reminded one of the rains. The topic was inspired by the Gayatri Mantra chantings, the concept of the chakras and the rules that guide the opening number of Kuchipudi called ‘Poorvaranga.’ The choreography of the piece naturally stressed on spiritualism, which infused the dancers as well through a kaleidoscopic rhythm pattern. Every movement of ‘anga’, ‘pratyanga’ and body language of the performers mesmerized the audience, who basked in ‘adhyatmik bhava’ causing positive energy to flow all around. Physical form and life of human beings were explained in the language of dance. Fire was shown as the symbol of courage, air as the symbol of compassion that emanates from the chest and lungs, while the area of the throat is the symbol of space. Above the eyebrow level, ideas are converted into symbols. Intellect is the third eye that thinks and understands. Blissful, enlightenment is truth.
Physical movements are verily manifestations of Gouri. Speech and all forms of music are manifestations of Saraswati, costumes are manifestations of Mahalakshmi. Aatman, the auspicious one, manifests satvika abhinaya. All movements of the right side of Shiva’s body are verily the manifestations of tandava and all the movements of the left side of the body are manifestations of lasya of Gouri. Sprouting of rasa is Virinchi, the creator, continuation of rasa is Vishnu, the protector and culmination of rasa is Mahesha, the destroyer of ahankar. Dance itself is the manifestation of the divine srishti-sthiti and laya – the divine game of creation, sustenance and destruction. Body is visualised as the temple where Jeeva the deity resides. The dance overladen with rich symbols was rendered in pristine style.
An abhinaya piece revolving around inseparable Radha and Krishna innovatively and imaginatively depicted sringara rasa. Without Radha, Krishna is incomplete and without Krishna, Radha can never be Radha. The eternal love birds were depicted by Vyjayanthi and her daughter Prateeksha, showing the stuff bhakti is made of. The Tarangam “Pahi pahi jaganmohana Krishna” from the well-known Krishnaleela Tarangini by St. Narayana Teertha is a text that recounts the life and events of Lord Krishna. Various are the literary and musical forms found in it that has been judiciously and aesthetically mixed in the piece. The dancers used various pada karmas and dances on the rim of brass plates. The brass plate is the symbol of ‘Karmakanda’- one’s field of activity. And the dancer is a Karma Yogi, highly disciplined with deep knowledge brought out through intricate footwork. Dancing on the rim is indicative of the human possibilities of reaching beyond the limits. The sweet strains of raga Amritavarshini made it all the more captivating. The dancers were all praise for Krishna, the delight of Devaki and Vasudeva, Nanda and Yasodha, whose beautiful face is like the full moon, with teeth white as jasmine, curly locks of hair, gentle smile fascinating. The dancers addressed Krishna who made sweet sounds with his anklets while standing on the rim of the brass plate delightfully designing intricate rhythmic patterns in vigorous tandava style in the vocabulary of Kuchipudi. The dancer commented on the humbling effect Krishna’s dance causes in the devas. Mother and daughter rounded off their recital with the story of the hunch backed Kubja who gets back her former beauty with the blessings of Lord Krishna. It was quite a novel experience for the people in the North Eastern city of Guwahati to see Kuchipudi dance and enjoy its beauty.
The accompanying artists were Yogesh Gangani and Dibyojyoti Changmai on tabla, Santosh Kumar Sinha on Kathak vocal, Kusha Mahanto on khol, Prasanta Rajkhowa for Sattriya dance vocal and Prasanna Baruah on flute.
We wish to paint the minds of our audiences with colors and how it can be portrayed in dance. Chitra Lolitha is all about the color RED.
I wish to gather you into my history with a story. A story that will take you to chapters gone by into pages that will arouse your memories. A story that will truly bond you and me into us. I am the flamboyant red sky, turning from sunrise to sunset in framing the beauty of mother earth. I am the blood dancing through your veins.I am that ism of life, flowing within you connecting you to life seeking you to gather and gathering you to a world flooded with me and my coloury essence.
For if you ever pray to be a color, you would truly want to be me CHITRA LOLITHA.
Anubhava Mantapa was an academy of mystics, saints and philosophers of the ‘Lingayata’ faith in the 12th century. It was the fountainhead of all religious and philosophical thought pertaining to the Human Values, Ethics. It was presided over by the mystic Allama Prabhu and numerous Sharanas from all over Karnataka and other parts of India were participants. The Sharanas belong to the lower strata of the society basically called the Sudras and the Dalits in the Varna System of Hinduism. Sudras and Dalits where provided equal opportunities by the social reformer Basaveshwara and m≤ade them to depend on their own work, think rational and contribute back to society through Dashoha. This institution was also the fountainhead of the Vachana literature which was used as the vector to propagate Sharana’s views and philosophical thought. Other Sharana’s and Sharanes theosophy like Akka Mahadevi, Channabasavanna were participants in the Anubhava Mantapa.It was a unique socio spiritual revolution to establish an egalitarian society.
The Anubhava Mantapa worked to build a Vibrant casteless, creedless Society with full of Human Values propagated through Vachanas
The movement initiated by Basava through Anubhava Mantapa became the basis of a sect of Human values. It gave rise to a system of ethics and education at once simple and exalted. It sought to inspire ideals of social and religious freedom, such as no previous faith of Earth had done. In the medieval age which was characterized by inter-communal jealousy, it helped to shed a ray of light and faith on the homes and hearts of people. But the spirit soon disappeared after the intermarriage that Basava facilitated came to an abrupt end when the couple were punished for the same by the King. The dream of the classless society was shaken and Basava soon realised the meek picture and left for Kudala Sangama and a year later died.
The movement gave a literature of considerable value in the vernacular language of the country, the literature which attained the dignity of a classical tongue. Its aim was the elimination of the barriers of caste and to remove untouchability, raising the untouchable to the equal of the high born. The sanctity of family relations and the improvement in the status of womanhood were striven for while at the same time the importance of rites and rituals, of fasts and pilgrimages was reduced. It encouraged learning and contemplation of God by means of love and faith. The excesses of polytheism were deplored and the idea of monotheism was encouraged. The movement tended, in many ways, to raise the nation generally to a higher level of capacity both in thought and action. However, the sect failed to bring about a completely classless society.
With the support of my students Guru Raju, Prateeksha Kashi, Mahalakshmi B H Mala , Diksha Shankar, Aishu Aish, Anjali, my Dharwad team of students and Saakara, I was able to carry it off so successfully; this being the first of its kind in North Karnataka.