In a efficiency that shimmered with a quiet magnificence and non secular resonance, Namami Narayanam, a Mohiniyattam dance manufacturing, choreographed by guru Shruthi Shoby, was offered at Mylapore Fine Arts Club, as half of the Abbas Cultural Dance Drama Festival. Performed by Shruthi and her disciples from Srishti School of Classical Dance, the thematic manufacturing unfolded 5 timeless stories, themed on Krishna.
The energy of this manufacturing lay, not in grandeur or opulence, however in its simplicity. The choreography used minimal props, permitting the viewers to get pleasure from fluid motion vocabulary and nuanced abhinaya. that characterise this dance type. The seamless mix of classical compositions in Malayalam, heightened the emotional enchantment.
Moniyattam efficiency, themed on Krishna, by the scholars of Srishti School of Classcial Dance.
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Special Arrangement
The night opened with the story of Dhruva, the boy who, deserted by his father (King Uttanapada) and insulted by his stepmother (Suruchi), undertakes an intense penance to win the grace of Narayana. The portrayal of childlike longing, rejection and divine blessing was transferring, with the dancer’s restrained expressions evoking Dhruva’s unwavering willpower.
This was adopted by the poignant story of Ajamila, a fallen Brahmin, who, regardless of his ethical decline, attains salvation through the inadvertent utterance of the lord’s identify. The redemptive energy of religion and give up, highlighted in the course of the efficiency, was a recurring theme all through the night.
The narrative deepened with the story of Pingala, a courtesan, who renounces worldly pleasures to pursue non secular awakening. This phase was notably impactful, because the lead dancer captured each the opulence of Pingala’s former life and the serenity that prevailed after her transformation.
Namami Narayanam, the Mohiniyattam efficiency by the scholars of Shruthi Shoby’s Srishti School of Classical Dance.
| Photo Credit:
Special Arrangement
A dramatic shift in tone got here with the fourth story, that of Santana Gopalan, which normally refers to Krishna’s beginning in difficult circumstances and his youth that was crammed with challenges. It symbolises how the toddler lord protects and helps one overcome struggles with ease. In this manufacturing, the dancer depicted the desperation of a Brahmin grieving over the loss of his kids, Arjuna’s ego-driven vow and Krishna’s eventual intervention. The duet between Arjuna and Krishna, introduced out with managed depth, was one of the excessive factors of the night.
The finale was a visible deal with — Kalinga Narthana — the place Krishna dances upon the serpent Kalinga’s hoods. This scene was executed with a stability of theatricality and technical finesse, because the dancer’s sleek footwork and expressive management introduced alive the symbolic subjugation of the ego.
The efficiency was elevated by a well-coordinated staff — choreography, idea and nattuvangam are by guru Shruthi Shoby, musicby Thrissur Krishnakumar, lyrics by Kalamandalam Ganeshan, background rating and rhythm are by Nagarajan, vocals by Sudev Warrier, violin by Anand Lal and edakka by Thrissur Krishnakumar.
Minimalistic but evocative, Namami Narayanam was a celebration of bhakti through dance and a reminder that grace usually lies in restraint.
