Persevering with its marathon sequence, Aalaap (@aalaap_concepts on Instagram) dropped at the fore a night of Bharatanatyam dancers and their inventive interpretation of female-centric items. A case examine in perspective and method, this line up introduced tales from puranas, reinterpretations of tales and novel items from their repertoire.
Manu Smriti goes like this: “Yattra naryastu poojyante, ramanthe tattra devathaha; Yatraitaastu na poojyante, sarvaastattraha appalaha kriyaha” (The place ladies are worshipped, god roam amongst that realm/abode; The place ladies are usually not worshipped, each exercise turns into fruitless). Drawing from this dictum, which is made to a proud gypsy girl singing the reward and greatness of her land, Manasvini Ramachandran introduced an fascinating narrative. She additionally portrayed ladies as a manifestation of Adi Sakthi in ‘Prahabrahma sahacharini Adishakthi swaroopini’ and the Ganges because the sustainer, protector and bestower of salvation with tunes in Hindi and Tamil.
Anjana Anand carried out the well-known padam ‘Theruvil Varano’ in Khamas — to precise time standing nonetheless as she waits for her beloved and none to play messenger. Ending with ‘Pari Paahi,’ a Kathakali padam tailored to Bharatanatyam, this piece explores the connection between Krishna and Draupadi. Dismayed and angered by Krishna’s efforts to make peace with the Kauravas, she says, “What in regards to the humiliation inflicted upon me within the Sabha?” Each the compositions are from the dance theatre productions of JustUs Repertory.
Clad in black and gold, Dakshina Vaidyanathan demonstrated an excerpt from her manufacturing, Shoorpanakha, which reveals the extra acquainted demoness as ameenakshi, the gorgeous sister of Ravana. Her glad marriage is shattered when Ravana will get her husband killed. Stuffed with revenge, she waits for a possibility. Ravana loses the competition at Sita’s swayamvara. Now Surpanaka strikes. Touchdown at Rama’s hermitage, she tries to lure him to arrange a struggle between Ravana and Ayodhya’s prince. A meticulous plot and an ideal recipe for chaos — Dakshina gave an perception into Surpanakha’s act, why she did what she did.
A precursor to this incident, Divya Shiva Sundar tailored the ekaahaarya lasya of enjoying a number of characters — highlighting a crafty Manthara and the queen Kaikeyi. An excerpt from Ramanatakam by Arunachala Kavirayar, it depicted the episode of Manthara turning Kaikeyi’s thoughts in the direction of placing her son first earlier than Rama. A soar reduce additional throughout the story confirmed Meenakshi Srinivasan’s transferring portrayal of ‘Agni Pravesam.’ Three numerous depictions of ladies throughout the Ramayana alone.
“Sita to me just isn’t this perfect goddess we really feel distant from. She expressed herself strongly, and successfully and performed herself abiding by beliefs and values that she stood for,” Meenakshi elucidated on her selection of presentation. One other fascinating side about these three storylines was the colors of aharya — black and gold for Surpanakha, a quaint mixture of orange, crimson and inexperienced for Kaikeyi and Manthara and at last, yellow with a daring crimson for Sita — aharya actually had a bearing on abhinaya right here.
A lighter and joyful piece from Srinivasan was Annamacharya’s ‘Alarulu Kuriyaga’ in Sankarabharanam. Devoted to Goddess Alamelumanga, she watches flowers showering from timber and unable to manage her urge, she begins to bounce. One other Annamacharya piece, introduced by Aishwarya Balasubramanian was the favored sringara sankeerthanam, ‘Emuko chiguruta daramuna.’ Her interpretation required her to don the roles of a lover, spouse and a mom in her items. Preceded by ‘Etai Kandu Nee’ from the Ninda Stuti (Kalyani, Rupaka talam) and concluding with a Thalattu penned by Periyazhwar (Ragamalika, Tisra adi), Aishwarya selected to discover how nice male poets believed that one of many true methods of connecting with their Lord was to embody the function of a lady by way of their work — “the place the Bhakta turns into the Bhaktini.”
Three enigmatic feminine characters, one her poetic namesake, Meera Sreenarayanan narrated the tales of Kannagi, Meera and a modern-day girl. Draped in a pink sari, she unleashed a variety of emotive items, she revisited the transformation these ladies skilled — a fragile flower to thundering rage, a treasured pearl to a coronary heart full of devotion, and one who selected herself when her man selected in any other case. Additionally clad in pink and bringing to life two Sangam poems — Kuruntokai in Sahana and Natrinai in Mand and Vasanta — Karuna Sagari selected to depict on a regular basis ladies and their toils. “Actual, sturdy and delightful, but flawed as a result of they’re human. Sangam has portraits of actual ladies like that,” she defined.
A contact of the fashionable world in “Ulla kumuralgal ulagirkku puriyavillai” because the protagonist swings round shuffling her music playlist, to the swirl of combined emotions, devastated and angered in “Thalai Aattum Bommai Neeya?,” Kavya Muralidharan introduced forth a special approach, each items composed and choreographed by Madurai R. Muralidharan. The sakhi asks within the latter upon seeing her pal silently nodding and tending to the work her in-laws set out for her, “What occurred to your goals? Don’t be the puppet that’s managed by everybody. You might be no lesser than anyone else.”
Turning the web page over to a beloved character, Parvathy Menon dwelt on two shades of Radha, the peg being the poetry of Gita Govindam and a Surdas Bhajan. She included the concept of a lotus that blooms because the solar rises and withering away in its absence, adopted by a Mangalam. One other character portrayed vividly was that of Yasoda, by Rukmini Vijayakumar. Krishna’s mom involves know that he’s not her son. With ample love and restrained unhappiness, she will get ready to ship him away.
“Gadhiyaay chendradhu kaalam, nee yennai pirindidum neram – vidhiyai ariven naanum. Indroru naal illayo annai yennaku,” she sighs to herself. The eye to element interspersed with fast actions — Yasoda fixing Krishna’s apparel earlier than she sends him away. She makes him promise to be good whilst she hides her tears and manages an encouraging smile.