Apr 22, POONA, INDIA — The Cleveland Thyagaraja Aradhana Festival opened with a rich performance schedule of classical music and dance, attended by well-initiated, concert-goers and thousands of rasikas. This year heralded the additional focus and impetus given to classical dance. Towards this endeavour, The Cleveland Aradhana Committee featured a noteworthy initiative titled 'Nrithyobhavam' featuring Bala Devi Chandrashekar, senior disciple of Padma Subrahmanyam, complimented by Smitha Rajan (Mohiniattam) , Anuradha Nehru (Kuchipudi).
As an ardent connoisseur and supporter of classical arts, I was one of the fortunate ones to visit US around the time of the Cleveland Aradhana festival and witness the devotion-filled Bharat Nrityam dance performance of Bala Devi Chandrashekar. She gave a brief overview on 'Nrityobhavam'. Her Bharata Nrityam performance laid focus on the beauty of movement, picturesque poses blending with a charming, graceful technique. It was a visual delight.
Bala made a graceful entry in Pushpanjali, a demanding piece combining both Nrita and abhinaya, paying obeisance to the Gods -- an impressive recital describing the devotee's total surrender to the Lord. Bala's expression and footwork were clear and precise. The quintessence of Bharata Nrityam lies in its sculpture-like stances and this was reflected in the item, Muthuswami Dikshitar's composition in Ragam Kalyani steeped in the bliss of Shivananda - 'Sivakameshwari Chintayeham'.
Bala's performance brought about the fulfillment of the sentiment of Shringara Rasa, clearly depicting the mood of Rasa, fascinating the mind of 'Shivakameshwara'. We could visualise the Goddess - Shringara personified. The sanchari for the lines Madhurya gana with references from Sri Soundaryalahari - the 66th verse, 'Vipanchaya Gayanthi' referring the sweet words of Mother to Goddess Saraswathi was beautiful. Even the line on 'Madhalasam hamsoulasini' was depicted with great devotion. The rendition of the song was so intense in bhakti that we felt we were dancing with Bala!
The high point of the evening was Bala's ability to demonstrate the potentiality and technique Natya Shastra offers for creativity -- 'The Jatayu Moksham' an episode from Ramayana to Tchaikovsky's overture for Romeo & Juliet., choreographed by Bala's Guru, the Bharata Nrityam exponent Padma Subrahmanyam.
Truly, Bala is a gifted dancer with wonderful depth; the rasikas could enjoy her bhava-soaked performance. Bala's demonstration of the Angika Abhinaya technique with full use of Satva was evident, depicting the moving episode of the divine bird. We were so engrossed watching and living the experience of each character in the Ramayana that we even forgot to applaud! After watching the performance, I really understood the meaning of words like enthralled and enraptured!!!! It was amazing to see Bala's Guru Padma Subrahmanyam's great choreography of the episode for the symphony music without the help of a single word to express the situation. Truly Tchaikovsky's overture took a new meaning through this brilliant choreography and presentation!
The next item was Oothukkadu Venkata Kavi's composition, filled with devotion, excellent imagery and brilliant sollukkattu. Bala depicted through her dance Krishna's incomparable beauty, portraying the longing of the gopikas for Krishna and His infinite mercy. Bala brought out the beauty of these lyrics through 'Asaindhadum mayil ondru kana' in Simmendramadhyamam Ragam. Bala stood out as Krishna with her charming smile and lovable presence. The poise and graceful movements of Bala, struck a deep chord with the rasikas.
In the song 'Baaro Krishnayya' by saint Kanakadasa, Bala's depiction of Yashoda beckoning child Krishna with vatsalya taking his hand and walking along before scooping him up in her arms was remarkable! She also depicted 'Kalinga Nardhanam' sequence using specified temple sculpture movements- Karanas. As she brought to life Shri Krishna's image turning to give darshan to Kanakadasa, many in the audience were moved and spell bound!
Bala performed for Saint Annamacharya's composition- 'Brahmam Okate'. In this dance, we could feel the real trance of experiencing the 'Prabrahmam'. Bala's dance brought the joy that one experiences studying about the bliss that the Siddhars enjoyed! In this dance we could see vivid exposition of the beauty of Oneness! We were one with Bala's performance experiencing the truth that every living being is a part of the Supreme energy!
Bala's performance on the great composers' kritis, portrayed an aesthetic / devotional journey of rasa and bhaava, and Bala was at her expressive best in every frame. She gave a brilliant visual dimension to composer's devotional lyrics while preserving the musical brilliance of the kritis.
The programme continued with substance-filled Mohiniattam and Kuchipudi performance and concluded with a Thillana composed by Padma Subrahmanyam in 'Kaannada' ragam and Adi thalam. Poignancy and vibrancy marked the Thillana, presented in all three styles. The poise and graceful movements of the artistes left a lasting impression on the rasikas. It was the co-ordination of the dancers that stood out. The kaleidoscope of colour and movement provided a rich tapestry for the viewers.
Through this dance initiative the Cleveland Aradhana gave a rare treat to its rasikas.