Basavanagudi in Bangalore, my home for my first 14 years, is a bastion of culture=food and music and flowers and silks, is dotted with lovely ancient temples. The biggest and best shrine atop a hillock is the Big Bull temple. A favourite of Lonely Planet and trinket sellers, it witnessed a goose-bump raising Odissi dance y'day.
Gudiya Sambhrama is an initiative of some enterprising ladies and families who get up concerts and dances and thematic shows in temple settings Jan-Mar every year. Free programmes in a temple, beautiful setting with good sound and light. What more do you want?
A young danseuse and actress, Rukmini Vijayakumar, did some neo Bharatanatyam first, with good orchestral support. The famous Natakurinji Varnam of Sivan, maiyya mori, and a Rajkumar Bharathi Devi ragamalika composition were covered in 90 min. She has enthu, expression and talent if not the traditional Kalakshetra finesse or meditative bhava.
Next was Odissi.
Bijoyini is born to dance. Surupa runs Nrityagram wonderfully for many years now. Together they create a heavenly mood of music and dance that goes beyond limits of perfection. The result is that even oft-heard items become unique and immersive. What then of their constant innovation with choreography and music for some of the best prayers and legends in Hinduism.
The first item, from Kalidasa's Shyamala Dandakam, was a launch pad for the recital. Then came two ashtapadis, Dheera Samire and Kisalayashayanatale. We need to learn from these two how to elevate erotic poetry to the highest form of art and meditation. The finale was a prayer to Shiva. In raga Kalyani, Bijoyini danced to a short alapana, done in a mesmeric male voice. She showed how to emote to pure music in three octaves like I have never seen before. Finally the chant Om Namah Shivaya - again a master class in music, bhava-raga-tala perfection in dance.
It will be a long time before we come out of the trance. God Bless.
