Sonal Mansingh’s ‘Kala Yatra’ introduced alive episodes via narration and efficiency
The common attraction and relevance of our epics are what encourage artistes to revisit them.
Sonal Mansingh’s two-day ‘Kala Yatra 2020’, a digital presentation, was a mix of performances, talks, work and puppet exhibits.
The competition started with Kalakshetra’s ‘Sita Swayamvaram’. The presentation lacked vibrancy, maybe it was an outdated recording.
Choodamani Nandagopal’s discuss on the ‘Abduction of Sita’ adopted by the depiction of Rama’s exile via a puppet present made for a seamless stream of episodes. Choodamani defined how the Ramayana lends itself fantastically to various artwork types. The navarasas discover good expression within the epic.
Referring to the maiming of Shoorpanaka evoking laughter in Sita and Lakshman, Choodmani stated it was troublesome for twenty first century minds to giggle over an occasion of a lady getting maimed, regardless of how depraved she is. Her prolonged discuss, although very informative, may have been made extra fascinating with footage.
Aesthetic presentation
The Dramatic Arts school of the Thailand-based Bundit Pattana Silpa Institute depicted the Swarn Mrig (golden deer) scene. It was replete with aesthetic actions and mime. The costumes, notably the headgear, caught the attention. The Mareech dance was effectively choreographed. The presentation proved how the Ramayana is common throughout South East Asia, with every area including its personal flavour to the epic.
Prasoon Joshi’s elucidative discuss in chaste Hindi on the character of Jambavant, who spanned throughout three yugas, bridged the kidnapping episode with the search for Sita and the following battle with Ravana the place Jambavant performs a pivotal position in igniting (as a motivational speaker) Hanuman’s prowess.
Joshi burdened on the dialog between human (Ram and Lakshman) and non-human (Jambavant and Sugreev) as indicative of interactions at increased ranges of consciousness. One other puppet present confirmed ‘Lanka dahan’ (Lanka on fireplace).
The curtains got here down with ‘Sankatmochan Hanumanashtak,’ a bunch presentation by the scholars of Delhi-based Shri Kamakhya Kalapeeth, depicting the lifetime of Hanuman, his companions Bali, Sugreev, Jambavant, his seek for Sita, and his innate devotion to Lord Rama. Sadly, occasional disturbances marred the visible attraction of the presentation.
Subsequent on Mahabharata
With its big selection of characters, the episodes from the Mahabharata on day two made for a energetic providing. Dr. Bharat Gupt threw mild on the incidents that led to ‘Bhishma Pratignya’ (Vow of Bhishma).
The professor maintained that Bhishma was a flawless character and if there have been faults, it was in his father Shantanu and the social milieu of the instances. The comparability of Bhishma with a Greek tragic hero was fascinating.
It was adopted by a riveting solo by Sonal Mansingh. For these of us who haven’t seen her on stage lately, it gave a glimpse of her artistry, particularly her abhinaya. The multi-layered character of Draupadi — from a proud princess of Panchal to a morally wounded lady who loses all the things — was explored with finesse. Her fiery spirit was delivered to the fore with conviction. The backwards and forwards method and using cloth as a metaphor have been commendable. Sonal’s dance was an eclectic mixture of Odissi, Bharatanatyam and up to date.
Concentrate on Karna
‘Karna Vadh’ by Rasa United (Delhi), that introduced collectively Chhau, Kuchipudi and Bharatanatyam, had ace dancer S. Vasudevan within the lead. He conveyed the pathos of Karna via an efficient narrative.
Dr. Sahana Singh spoke concerning the Mahabharata and training, with examples of studying centres that had thrived in that period.
The battle of Kurukshetra and its aftermath have been effectively portrayed via Nangiar Koothu, and the dancers of Natanakairali showcased ‘Urubhangam’. Balarama, Duryodhana and Gandhari have been performed in entrance of an enormous brass lamp, the sunshine accentuating gestures, eye actions and expressions. Even the goriest scenes have been performed with such subtlety that they lingered lengthy after the present was over.
The creator, based mostly in Delhi, writes on classical dance.
