Spending an entire evening engrossed in the abhinaya prowess of seven senior artistes from distinct dance styles was an enthralling experience. Titled ‘Tamrapatra Live,’ this event was a poignant tribute to Annamacharya’s timeless compositions, thoughtfully curated by Ananda Shankar Jayant. The serene atmosphere of the Kalakshetra auditorium significantly amplified the rasanubhava, making it a night to remember.
In 2010, musician Sathiraju Venu Madhav undertook the ambitious project of setting to tune 108 of Annamacharya’s uncomposed kirtanas in 108 different ragas. With an aim to popularize these compositions, Ananda Shankar Jayant, along with Anupama Kylash, launched a year-long online series. This series culminated in a full-length performance that held the audience spellbound.
The evening commenced with the soulful portrayal of Krishna, sitting on the banks of the river reminiscing about Radha before his departure to Dwarka. This scenario, filled with intense emotions, was brought to life by Vaibhav Arekar’s poignant performance. A particularly striking moment was when the dancer penned his feelings on a lotus leaf, gently letting it float on the water, encapsulating Krishna’s yearning to see Radha once again.
The scene then transitioned to Radha’s perspective with the kirtana ‘Ati shobiteyam’ set in raga Sama, performed by Gopika Varma. Her dance delicately depicted Radha’s myriad emotions with grace and finesse. One of the highlights was the vivid depiction of the seven hills, adding a unique layer to the performance.
Deepika Reddy presented the vibrant and joyous kirtana ‘Ekkuvatakkuvaleevo’ in raga Behag, which describes the bond between Alamelumanga and Venkateshwara. Through her Kuchipudi performance, she beautifully encapsulated moments of companionship, culminating in a mesmerizing oonjal (swing) sequence. The depiction of episodes from Vamana avatar and Amritmanthan further added to the richness of the narrative.
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Anupama Kylash’s portrayal of a nayika yearning for her lord after separation offered dancers immense scope to explore intricate emotions. Her exceptional mukhabinaya, or expressive facial acting, was particularly noteworthy. The imagery of a wilting lotus and the comparison of a heartbeat to the fluttering wings of a bird were especially moving, capturing the essence of longing and love.
Clad in a colorful costume, Sathyanarayana Raju transformed into the sakhi, or friend, carrying Alamelumanga’s message to Venkateshwara. His portrayal was so graceful and engrossing that the audience almost forgot he was playing a female role. His performance was a testament to his versatility and understanding of abhinaya.
The union of the lord and his consort was depicted through an exploration of the six seasons, rendered masterfully by Ananda Shankar Jayant in the composition ‘Kaalamularunu’ in raga Vasantha. Her dynamic presentation highlighted the distinct features of each season and the shifting landscapes, creating a vivid tapestry of time and nature.
Ending the evening on a deeply philosophical note, Sharmila Biswas’s interpretation of ‘Aatavaari guditawara’ in raga Kedaragowla focused on the idea that every human is a puppet in the hands of the supreme. Her intense portrayal captured the profound message of the composition, leaving a lasting impression on the audience.
Curating a dance presentation devoid of nritta (the rhythmic, pure dance aspect) was undoubtedly a challenge. However, it was the collective experience and expertise of these seasoned dancers that held the audience’s interest throughout. Their powerful abhinaya, or expressional dance, carried the narrative forward effortlessly, proving that deep emotional connection can transcend the need for complex footwork and movements.
The event, which concluded on a high note, showcased how Annamacharya’s kirtanas are timeless treasures of emotions, capable of resonating deeply with audiences even today. Each dancer’s interpretation added a new layer of meaning to the compositions, making ‘Tamrapatra Live’ an unforgettable celebration of art and emotion.
