Bharatanatyam festival celebrates classical dance excellence
An enchanting evening of classical dance featured a compelling solo recital and vibrant group presentations. The festival beautifully blended tradition, expressive storytelling, and dynamic choreography rooted in epic heritage
Our Sacred Space Auditorium, Secunderabad, hosted a Bharatanatyam Dance Festival recently. The recitals featured a solo ekaharya by Hamsini Karanth from Bangalore, followed by a group ensemble presentation. Hamsini is the student and daughter of senior Guru Mamatha Karanth, Artistic Director of “Natyalahari”. Mamatha Karanth, an M.A. in Bharatanatyam, is well known in Bangalore, having trained more than 1,000 students and completed 55 arangetrams. Her ekaharya concept, ‘Ashta Ari’, was very interestingly conceived, with music recording of exceptional quality, outstanding vocal support, and orchestra. Lyrics and music were composed and sung by Srivathsa. The emphasis and inflections of the vocalist were perfect in setting the tone for the dance. The vibrant Kannada composition blended rhythmic sequences with expressive abhinaya and storytelling.
Inspired by the Mahabharata, the eight inner enemies of the mind—Moha, Asatya, Matsara, Krodha, Lobha, Kaama, Mada, and Adharma—these ashta aris are explored in depth. Set in a ragamalika, it begins with Lord Krishna, who sets the stage by imparting wisdom to Arjuna on the Kurukshetra battlefield that these vices led to the Kauravas’ downfall and the war. Duty consists of overcoming them and following a righteous path. Hamsini looked regally elegant in a contrasting green aharya with a red border.
Moha (delusion) is illustrated by Duryodhana’s love for power, bolstered by his father convincing him that the throne belongs to him. Driven by Asatya (falsehood), he tries to burn the Pandavas in the house of wax, but they escape through their quick-witted actions and divine support—eloquently depicted by Hamsini. When Duryodhana witnesses how Arjuna, with his prowess, wins Draupadi’s hand, he is overcome with Matsara (jealous envy). Hamsini’s surpassing abhinaya, her forte, delineated the scene perfectly. The Maya Sabha was the backdrop for Duryodhana’s Krodha (anger). Hamsini precisely portrayed Duryodhana trying to pick his way carefully through the sabha in frowning concentration, mistaking water for the floor and slipping despite all caution. The merriment of the Pandavas and Draupadi ignites his fierce determination to destroy them.
Hamsini’s ability to transition from one character to another was a treat to watch as she lithely donned myriad roles seamlessly. The infamous game of dice epitomized Lobha (greed). Her portrayal of Shakuni was amazing—first grimacing in focused thought as he juggled the dice, then grinning in ecstasy as he wins each wager, causing the Pandavas to lose their wealth, kingdom, freedom, and finally their wife, Draupadi. Duryodhana, arms akimbo, looks on with glee.
The fatal scene of Draupadi’s disrobing was the peak of poignant bravura. A mosaic effect was created by Hamsini as she became Dussasana, vigorously flexing his arms—first with ease, then rising to a dazed frenzy, and finally collapsing in exhausted stupor as Krishna miraculously saves the anguished Pandava queen’s honour. Blinded by Kaama (lust), Duryodhana slaps his thigh in beckoning contempt, inviting his later lurid end. Krishna’s arrival as the ambassador of peace is insulted by Duryodhana’s retorts of unyielding arrogance and failure to greet the Lord with respect. Duryodhana’s Mada (pride) is humbled as Krishna divinely compels him into salutation by making him lose balance and fall at his feet. Hamsini’s expressive angika abhinaya blazed in the role of Abhimanyu, who, fighting valorously even after losing his weapons, brandishes a chariot wheel until he is overcome by Adharma (unrighteousness) in the form of a combined onslaught from behind. The artiste, with radiant energy, conjured a battle scene full of swordplay and ricocheting arrows. The conclusion showed the death of Duryodhana, who is challenged to a duel from his hiding place, and Bhima’s mace shatters his thigh.
Next, ‘Srivari Padalu’ Dance Institute of Dr. Rama Devi presented group items by thirty students. A brief ‘Pushpanjali’ was followed by ‘Mysore Jathi’ in Hamsadhwani, a vigorous piece. ‘Krishnashtakam’ praised the Lord, envisioning his form and exploits. ‘Narasimha Kauthuvam’ featured picturesque tableaux in arresting yellow aharya, culminating in the gruesome, awe-inspiring destruction of the demon Hiranyakashipu. ‘Annamacharya Kriti’ and ‘Gajavadana’ were engaging. A crisp ‘Thillana’ in Purvi ended the performance as all the dancers received rousing applause. Guests Dr. Ramana, Vice-President, SICA, and Sri Harshavardhan, former Director of Culture, graced the occasion.
