Sannidhi | Khajuraho Festival of Dances
Dr. Sunil Kothari
March 10, 2013
Now in its 39th year, Khajuraho Festival of dances has added several features along with the festival. When one approached the festival venue located on the Western complex of Chandella temples, one entered into an area which covered several arts. Right from the delicious variety of food of Madhya Pradesh, one moved on to see the looms, weavers weaving amazing patterns on saris, block prints, then a potter, who carved out beautiful shapes of earthen wares. A store next to it had publications on art. From there on one entered the Art Mart, a welcome addition for tourists to buy paintings. Adjacent to it was an exhibition of paintings by artists from Madhya Pradesh, arranged in an eye catching manner.
Excerpt:
Then followed an excellent presentation of seven classical dance forms conceived and choreographed by Odissi and Kathak exponent Parvati Dutta of Mahagami Gurukul, Aurangabad. She also arranged the musical accompaniment. The first number Nirgeet based on research work attempting to showcase the rich and varied dance vocabulary of the seven styles succeeded in a large measure as from abstract to concrete when Sangeet with verses in praise of Shiva were rendered, all seven dancers danced well, dressed in their regional costumes, and appeared absolutely stunning.
I had seen this production at Ananya Festival in Delhi and had also the benefit of a post performance discussion. It helped me immensely to appreciate the hard work put in by Parvati and the dancers of different forms. The plus point is the maintenance of autonomy of each form, be it Kathakali, Bharatanatyam, Odissi, Kuchipudi, Kathak, Mohiniattam or Manipuri. Each dancer performed in tala and laya and the recording was well tuned, with the result the sound of each percussion instrument gave the feel of the form suitable for the dance style.
Choreographic work ‘Sannidhi’ dwelt upon performing together, based upon seven rivers commencing with chants of Shatapath Brahman paying obeisance to water. The work moved in a seamless manner, extolling the beauty of rivers like Ganga, Saraswati, Narmada, Yamuna, Godavai, Kaveri, with Sanskrit poetry and dancers performed it with great dexterity, none colliding, but creating a marvelous fusion. Selected mantras from Vedas and verses from Puranas lent a rich texture to the entire production. Seated next to me was a senior dancer who along with the music recited Narmadashtakam, and I could see that the appeal of the dance, music, shlokas was being shared by many in the audience. Visually with such glamourous costumes, indeed, it cast a spell. With the backdrop of the temple and stage props with temple architecture, dancers used the space imaginatively evoking ghats of rivers and the placing of lamps in waters was just a brilliant touch. Bravo Parvati!! A tough job conceived and executed as a challenge, well met.
Dr. Sunil Kothari
March 10, 2013
Now in its 39th year, Khajuraho Festival of dances has added several features along with the festival. When one approached the festival venue located on the Western complex of Chandella temples, one entered into an area which covered several arts. Right from the delicious variety of food of Madhya Pradesh, one moved on to see the looms, weavers weaving amazing patterns on saris, block prints, then a potter, who carved out beautiful shapes of earthen wares. A store next to it had publications on art. From there on one entered the Art Mart, a welcome addition for tourists to buy paintings. Adjacent to it was an exhibition of paintings by artists from Madhya Pradesh, arranged in an eye catching manner.
Excerpt:
Then followed an excellent presentation of seven classical dance forms conceived and choreographed by Odissi and Kathak exponent Parvati Dutta of Mahagami Gurukul, Aurangabad. She also arranged the musical accompaniment. The first number Nirgeet based on research work attempting to showcase the rich and varied dance vocabulary of the seven styles succeeded in a large measure as from abstract to concrete when Sangeet with verses in praise of Shiva were rendered, all seven dancers danced well, dressed in their regional costumes, and appeared absolutely stunning.
I had seen this production at Ananya Festival in Delhi and had also the benefit of a post performance discussion. It helped me immensely to appreciate the hard work put in by Parvati and the dancers of different forms. The plus point is the maintenance of autonomy of each form, be it Kathakali, Bharatanatyam, Odissi, Kuchipudi, Kathak, Mohiniattam or Manipuri. Each dancer performed in tala and laya and the recording was well tuned, with the result the sound of each percussion instrument gave the feel of the form suitable for the dance style.
Choreographic work ‘Sannidhi’ dwelt upon performing together, based upon seven rivers commencing with chants of Shatapath Brahman paying obeisance to water. The work moved in a seamless manner, extolling the beauty of rivers like Ganga, Saraswati, Narmada, Yamuna, Godavai, Kaveri, with Sanskrit poetry and dancers performed it with great dexterity, none colliding, but creating a marvelous fusion. Selected mantras from Vedas and verses from Puranas lent a rich texture to the entire production. Seated next to me was a senior dancer who along with the music recited Narmadashtakam, and I could see that the appeal of the dance, music, shlokas was being shared by many in the audience. Visually with such glamourous costumes, indeed, it cast a spell. With the backdrop of the temple and stage props with temple architecture, dancers used the space imaginatively evoking ghats of rivers and the placing of lamps in waters was just a brilliant touch. Bravo Parvati!! A tough job conceived and executed as a challenge, well met.
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