Praveen Kumar, among the most promising and knowledgeable of Bharatanatyam scholars, performers and teachers of the present day, made a statement with his performance at the Saranagati Festival conducted by Kuchipudi dancer Avijeet Das at Dhwani Auditorium in Bengaluru. His performance spoke volumes. His delicious platter was arranged with goodies that were irresistible.

His dance vocabulary and phrases were perfect to the last detail. His choice of compositions was of a very high standard. “Sadinchene”, a Saint Thyagraja composition was lapped-up by the audience. In it Thyagaraja’s playful chiding of Krishna for his hypocrisy and his lack of fairness in his multilayered activities was perfectly translated in the vocabulary of Bharatanatyam. Krishnabhakt Thyagraja’s hope that Vasudeva would ultimately be his saviour blossomed through Praveen’s dance.

Raga Aarabhi in Aditala created the required ambience. The Javali – a short piece full of poetic imageries of love – chosen was an unusual one. It centred around Krishna and a hard to conciliate gopi. All his devices to please her fail, till he plays his trump card – Innocence. Love wins. It was a very interesting piece with a happy ending. It was in Raga Kannada set to adi tala, a composition of Mysore Vasudevachar. Praveen used his eye and eyebrow expressions in a most telling way. In the grand finale, he led the audience to enjoy Thillana in Raga Kuntalavaarli, adi tala.

His use of stage space was remarkable. Natyanova Natyanova Performing Arts Centre is a leading dance company in Mohini Attam, spearheaded by Priyadarshini Ghosh and Mohana Iyer. It is an institution dedicated to teaching and researching the classical art form of Mohini Attam and imparting training in Bharathanatyam as well.

The company works on practices on the classical traditions of Indian dance while simultaneously exploring new dance movements. Priyadarshini Ghosh, Artistic Director of Natyanova, has been an established Classical Mohini Attam dancer and Mohana Iyer, Associate director, is an accomplished artiste, choreographer and trainer in Indian Classical dance forms. She is a trained Carnatic vocalist and a Nattuvannar to boot.

The dance form Mohini Attam belongs to Kerala. The form is extremely lyrical in character with flowing movements, juxtaposed with controlled and subtle foot movements, representing the nature of the region, the undulating paddy fields, the swaying palm trees and the bobbing of boats in the sea.

Having pre-dominance of Lasya, this dance was mainly performed by women in earlier times. The concept of the Mother Goddess is an element in Dravidian Culture, while the matriarchal system was very common among the Nairs of Kerala. The Nair women educated themselves and were free from inhibitions unlike the women of other communities of India which were male dominated. Hence this privilege enjoyed by the women folk of Kerala could have been a major force that inspired their aesthetic and cultural life, which found a deep expression in many of the female art forms such as Tiruvathira Kali, Kummi, Kaikottikali, Nangiar Koothu and Mohini attam. Kerala was culturally enriched by the great Chera monarch Kulasekhara Perumal, who also one of the twelve Alwar saints of the south.

With the rich dance drama traditions on mythological themes, this is the story of Vishnu taking the form of Mohini during the churning of the Milk Ocean to entice the Asuras towards the attractive Mohini, so that the gods could take away the Amrita which came out. Mohini became one whose enticing abhinaya achieved its goal. Perhaps the devadasis who settled down in Kerala naturally accepted the concept of Mohini.

The presentation was choreographed jointly by Priyadarshini Ghosh and Mohana Iyer and performed by Priyadarshini, Mohana, Ranu, Sreeradha, Sushmita, Saheli and Srijaini. The recital began with paying obeisance to the remover of obstacles, describing his various attributes, in Raga Hamsadhwani; Talam: Chempata. The music was by Dr. Leela Omcherry. Mukhachalam was a piece showcasing the pure Nritta of Mohiniyattam in various Kerala Sopana Talas in Ragamalika and Talamalika.

The composition was by Kavalam Narayana Panikkar. Mangala Shloka, in praise of Lord Nataraja, finishing in a typical Kerala style of rhythm – Marma Talam amd Raag Bagesri – reaching a crescendo was rather auspicious. Thrilling evening It’s a thrilling experience for classical dancers when they perform in a hall filled to the brim.

Usually classical dance has few takers, but Darpani’s 27th annual show at Rabindra Sadan came with a difference. Rasikas vied with each other to get a proper seat. STRING… BEADING THE FRINGES was supported by Sangeet Natak Akademi. Odissi exponent Arnab Bandopadhyay, the Artistic Director of Darpani, named his latest production based on Gitanjali “Chira Sakha”. In the latter half of the evening, the students of Darpani presented “Jay Hok Jay Hok”. It was again a collection of Tagore songs though not from Gitanjali.

The third part was Chandalika performed by Alakananda Ray who is a veteran Odissi dancer with a natural and sharp sense of what a drama should be. It was marked by an overflow of audience appreciation. “Mono Mor Megher Songee”, scripted by Chaitali Dasgupta was an exquisitely woven garland of Rabindranath Tagore’s choicest pieces based on Tagore’s favourite season, monsoon. Sujoy Prasad Chatterjee who was the Master of Ceremonies was at his best both in narration, recitation and vocal singing. Jayati Chakraborty who has created a niche for herself as a modern day Rabindra Sangeet artiste was a connoisseurs delight.

Dance composer, choreographer and director Arnab Bandyopadhyay once again proved his mettle in “Mono Mor Megher Songhi”. Dancers Debjani Chatterjee, Soumili Biswas, Arnab Bandyopadhyay and senior members of Darpani wafted the rasikas with the clouds to unknown and undiscovered spaces.

The mellifluous voice of the vocalist sang “Mano mor megher songee” , creating an ambience where one could hear the sound of the rain drops. Radhika wants to go out on such a night to meet her beloved. The ecstasy of personified rain was expressed in the graceful movements of Bandopadhyay in “Jakhon Esechile”. The lyric “Mone ki dwidha rekhe gele chole” was lyrical to the core.