Mahati Kannan and Ramya Venkataraman explored the concept of Shakti through well-researched pieces

Mahati Kannan and Ramya Venkataraman.
| Photo Credit: RAGU R

Seamless execution of profound truths Mahati Kannan and Ramya Venkataraman’s exploration of Shakti, the Divine Mother, was full of fervou

‘Prakrti to Para, An Exploration of Sakthi’, conceptualised and visualised by Bharatanrithyam dancers Mahati Kannan and Ramya Venkatraman of Nrithyodaya, was an exploration of the Divine Mother from the physical and the metaphysical plane, as described in the Vedas. 

The dancers had practised well, their communication was direct in the seamless 95-minute show, for Bharat Kalachar, and their confidence came from a place of having understood the content.

Many stalwarts supported them, especially lyrics by Isai Kavi Ramanan in addition to excerpts from traditional texts, music by veteran dancer and scholar Padma Subrahmanyam with tribal tunes from Shyamala Balakrishnan’s research. This was in addition to the live orchestra comprising Gayatri Kannan (vocal, nattuvangam and anchor), Nagai P. Sriram (mridangam), Parur M.S. Ananthashree (vocal) and Sreelakshmy Bhat (violin). 

Mahati Kannan and Ramya Venkataraman with Gayatri Kannan and Parur M.S. Ananthashree (vocal), Sreelakshmy Bhat (violin).
| Photo Credit:
RAGU R

‘The Earth and the Sky are the eyes of the formless… Do not search for Devi outside, look for her within,’ said the dancers in the Pushpanjali, quoting from Sri Devi Atharvashirsha. ‘Devi as Prakrti is everywhere — as the Earth Goddess, as the dense forest, the fruits and flowers, as the sacred cow and as the sacred Saraswati river which gave birth to the civilisation called Bharat and as Swaha, who gives shakti to Agni to burn…’  

The visuals in the text were deftly translated into symbolic jathis interspersed with clear abhinaya, almost literal, but tinged with warm enthusiasm. The nritta, presented as mere punctuations in the narrative, was crisp,  highlighted by good finishes and no blurred lines. In the sound track, melody ruled while percussion played a calm, supportive role. The experience was tasteful and classy. When speaking of such profound truths, softer tones convey it better.

Most endearing was the piece with child goddess Balatripurasundari and Kalidasa. When the poet was tasked with a poem to write with the first four aksharas of the alphabet, he meets a young girl Kanchanamala, who was writing the same. He is inspired after meeting her and presumes her to be the goddess in guise. Kalidasa’s realisation accompanied by two classical pieces, ‘Bhajare re chita Balaambika’ (Kalyani, Muthuswami Dikshitar) and ‘Baale balendhu bhooshani’ (Ritigowla, Tyagaraja), added a sudden depth of feeling, whichwhich was almost magical. They were rendered soulfully by Ananthashree, whose conscious attempt to keep to the ‘Nrithyodaya’ style of singing was remarkable.

The solos challenged the dancers to hold their own. Mahati’s was the story of three mothers — Madalasa who sang to her baby of the truth of Brahman and the illusion of relationships, Jabala from the Chandogya Upanishad who tells her son Sathyakama that his identity is only with her and to add her name to his, and Sumitra as she counsels Lakshmana to go happily to the forest and serve Rama and Sita as he would his parents, without sleeping for 14 years. Sumitra speaks convincingly, her bravado failing when he walks away. Ramya does well with big movements, splendid one-legged poses, and rigorous nritta. She used this to her advantage to present the kula devas of three empires — Nishumba Soodini of the Cholas, Chamundeshwari of the Wodeyars and Tulja Bhavani of the Marathas. She included the story of the sword from Bhavani mata given to Shivaji for his successful conquests. As the Tuljapur Bhavani arathi was sung, the energy of the song and the dance upped the fervor, resulting in a dramatic finish.

Mahati and Ramya’s concluding thillana ‘Ellame Shakti- Sivam’ in Mohanam and Janasammodhini, in Adi and misra chapu, captured the essence of ‘Prakrti to Para.’