Raining dance and music in monsoon
July 11, 2016
Renu Ramanath
The festival concluded with a scintillating Kathak recital by Parwati Dutta and team, from Mahagami Gurukul in Aurangabad. Beginning with ‘Om Namah Sivaaya,’ an invocation to the 12 Jyothirlingams, she based the second part of the invocation of Siva, on the adaptation of the original composition of raga Devgiri Bilawal, composed by the legendary singer Gopal Nayak at the Devigiri (Daulatabad) Fort near Aurangabad, in the 14th century. The second item was Taal Roop, delineating Jhaptaal, the time cycle of 10 beats. It had music and lyrics composed by maestro Pandit Birju Maharaj. ‘Shiv Vasanth’ was based on a Tulsidas poem, narrating the transformation of the entire universe when Siva, the cosmic dancer, was struck by the arrow of Kamadeva. Set in the line of the ancient genre of Dhrupad, the piece had intrinsic rhythmic patterns woven through crisp footwork.
For the solo abhinaya, Parwati Dutta chose the famed Swati Tirunal kriti, “Chaliye kunjanamo…” the beloved evoking her lover to visit the beautiful garden and to listen to the cuckoo. Celebrating the theme of monsoon, the next item was a classical Dhrupad composed by the legendary 15th century musician Tansen, celebrating the rainy season, and moving on to describe the Govardhan Leela, when Krishna heaved up the mountain to offer shelter to the people from the incessant rains. The next one was an emotive thumri, again celebrating the rains. The last one was ‘Nirjharineem,’ celebrating water, a dance tribute to the waterfall at the Ellora Caves near Aurangabad, called Sita ke Nahani. The item was based on Pandit Ravi Shankar’s composition of raga Tilak Shyam.
July 11, 2016
Renu Ramanath
 |
| Photos: Sreenath Narayanan (courtesy Navaneetham) |
The festival concluded with a scintillating Kathak recital by Parwati Dutta and team, from Mahagami Gurukul in Aurangabad. Beginning with ‘Om Namah Sivaaya,’ an invocation to the 12 Jyothirlingams, she based the second part of the invocation of Siva, on the adaptation of the original composition of raga Devgiri Bilawal, composed by the legendary singer Gopal Nayak at the Devigiri (Daulatabad) Fort near Aurangabad, in the 14th century. The second item was Taal Roop, delineating Jhaptaal, the time cycle of 10 beats. It had music and lyrics composed by maestro Pandit Birju Maharaj. ‘Shiv Vasanth’ was based on a Tulsidas poem, narrating the transformation of the entire universe when Siva, the cosmic dancer, was struck by the arrow of Kamadeva. Set in the line of the ancient genre of Dhrupad, the piece had intrinsic rhythmic patterns woven through crisp footwork.
For the solo abhinaya, Parwati Dutta chose the famed Swati Tirunal kriti, “Chaliye kunjanamo…” the beloved evoking her lover to visit the beautiful garden and to listen to the cuckoo. Celebrating the theme of monsoon, the next item was a classical Dhrupad composed by the legendary 15th century musician Tansen, celebrating the rainy season, and moving on to describe the Govardhan Leela, when Krishna heaved up the mountain to offer shelter to the people from the incessant rains. The next one was an emotive thumri, again celebrating the rains. The last one was ‘Nirjharineem,’ celebrating water, a dance tribute to the waterfall at the Ellora Caves near Aurangabad, called Sita ke Nahani. The item was based on Pandit Ravi Shankar’s composition of raga Tilak Shyam.
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