A compelling performance by Arunima Pramod, brought back the enduring charm of Swathi Thirunal’s compositions in the Mohiniyattam repertoire.
It was really distressing to note that over the past few years, Swatithirunal, but for whom Mohiniyattam would have gone to oblivion, has turned an untouchable for the fraternity of this dance form. True that Kerala Kalamandalam which was responsible for retrieving the lost tradition had always banked on Swati compositions in its efforts. Even after the Kalamandalam style evolved with perfection thanks to the assiduous works of Kalamandalam Sathyabhama, Kalamandalam Leelamma , to mention a few, the institution has been banking on mainly the compositions of the Maharaja.
Towards the second half of the 20th century when there was a proliferation of Mohiniyattam styles, there was criticism from some quarters that Kalamandalam could hardly get out of the ‘vipralambha sringara’ and similar themes on which most of the Swati compositions were anchored.
While Kalamandalam could come out with new choreographies, others were more concentrated on innovations on the terpsichorean techniques of the dance form. In this pursuit, Swati compositions were sidelined from the Mohiniyattam repertoire. Even compositions in the colloquial language appeared to the dismay of the connoisseurs.
Reviving the royal spirit
This lacuna was addressed by the Thrissur-based dance training institute ‘Sooryakanthi’ , owned by the artistes –couple Bijeesh Krishna and Kalamandalam Akshara, by staging a one-hour-and-a half recital which embraced only choicest compositions of Maharaja recently. This appeared a challenge and the audience was thrilled to watch the ever-green varnam, ‘Sumasayaka’, padam ‘Alarsara parithapam’ and ‘Kaminimani’ etc.
As for the performance, Arunima Pramod , a dedicated dancer who has thrown away her lucrative job, impressed the audience with her laudable artistry.
She opened with the Narthana Ganapathy in Saveri and adi, ‘Paripahi gananadha’ bringing out the intrinsic virtues of the Vigneswara as explained in the composition. Her last pose of the elephant with the trunk raised was eye-catching.
Arunima’s presentation of the varnam ‘Sumasayaka’ in Karnataka Kapi and rupakam was elaborate and evocative of her terpsichorean as well as histrionic potentials. The love and suffering of the dancer’s friend who is heart-broken by the absence of her beloved (Krishna) could be well portrayed by Arunima.
Enchanting abhinaya
The much sought-after padam “Alarsara parithapam’ in which the nayika is both virahotkhantitha and vasakasajja was coupled with ‘Kamini mani’ in Poorvakamodari and misra chap thereby enhancing the chance for showcasing the abhinaya potential of Arunima.
She concluded with the mangalam, ‘Bujagasayino’ after the Anandabhairavi tillana.
Her movements with large amplitude were controlled. Her mudras were aesthetically formed and she took care to utilize the entire space of the stage.
The recital also marked the inauguration of the novel new project of Sooryakanthi, SAPARYA, a long journey with a series of performances Mohiniyattam.
Arunima was lucky to have perhaps the most outstanding accompanying artistes that included her guru Kalamndalam Akshara (nattuvankham), Bijeesh Krishna (vocal), Hariprasad Subramaniam (Flute), Soundararajan (vina), Charudathan (mridangam) and Thrissur Ajithkumar (edakka).
All numbers were choreographed by Akshara, a disciple of the late maestro Kalamandalam Leelamma and torchbearer of the Kalamandalam school of Mohiniyattam. An awardee of the Bismilla Khan Puraskaram for young dancers of the Sangeet Natak Akademi, her husband Bijeesh Krishna was recently awarded by Kalamandalam Deemed to be University for Abhinaya Sangeetham.
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