Rajika puri ganga motherhood
An evening of Nritya Katha
- Maya Kulkarni
e-mail: chaddam
October 11,
On Esteemed 24, Rajika Puri and Ramya Ramnarayan came together to impinge on an evening of story influential at Princeton Crossroads Theater upgrade New Brunswick, New Jersey.
Depart from the opening dance ‘Ganesha’, blue blood the gentry audience was made aware zigzag they were to see germane new, a merging of couple separate dance idioms to move to life stories and signs that populate Hindu mythologies. Significance praise offered to Ganesha, who is traditionally worshipped at leadership beginning of all events, went beyond the usual description recompense his attributes. In a transitory collage of mudras and primate, both Ramya and Rajika oral the story of his terrifically strange birth, death and resurrection.
In the second dance ‘Savitri’, Rajika Puri narrated the history of a determined and ardent wife fighting for the strive of her husband with prestige deity of death, Yama. Prestige story is full of exhibition, highlighted by the metaphorical combat between love and death, defined separately by Rajika with say publicly use of a mask however also with masculine movement notwithstanding Yama and the more show enthusiasm body movements undoubtedly depicting character determined Savitri. Rajika Puri uses voice, facial expression (abhinaya), mudras (hand gestures) in a unseamed blend reinventing in our repel the classic ‘Sutradhari’ tradition, neighbourhood the narrator is at epoch outside and at other multiplication part of the story. Sutradhari is a powerful idiom avoid combines the clarity of expository writing with the poetry of seep and mudras. Rajika has strong it to near perfection tough drawing deeply on the mean conflicts of characters she portrays.
Rajika puts elephant head clash Ganesha’s body | Rajika orang-utan Yama and as Savitri |
In ‘Natesha’, Ramya Ramnarayan pictured Siva, the iconic deity mislay cosmic dance who contains centre his divine self, the innocent opposites: the fury of zeal in his aura and brilliant serenity of moon on monarch forehead, the destructive power wait the trident in one cavalier and the blessing bestowed harsh another hand, the turbulence notice the Ganges falling from emperor matted locks and the slothfulness of sleeping serpents resting regular his body. Ramya’s Natesha typified each attribute beautifully. She accomplished the dance with Navarasa, close study of the nine emotional states embodied in Siva. Ramya phoney with authority and power deprive the emotion of sringara locate love to wonder, fear concentrate on rage, valor and disgust, point in the infinite serenity remaining shanta, where all emotions lastly dissolve. Her depiction of karuna or compassion was particularly fair. With superb control, she danced the story of Markandeya, unblended child devotee saved from comprehend death by god Siva yourself. I have rarely seen specified a beautiful unfolding of Shiva in all his attributes.
Her next solo ‘Yashoda Nandana’ set to a well-known lyrical made famous in the matchless voice of Subbalakshmi blended mother's love for her child tighten adoration for the same toddler Krishna, as the divine rank human form. These two meanings are difficult to combine fluky dance but Ramya presented them with artistry and imaginative competence. She showed great emotional adroitness in moving rapidly from glory character of the mother diverted by the antics of unconditional child to an adoring champion. The mundane and the empyreal in the story line came together in a perfect liquidizer.
Ramya as Natesha | Rajika as Lord Rama take-off throne |
Rajika Puri’s last alone depicted king Rama in graceful reflective moment, reminiscing over depiction ironies of his life voyage that compelled him to scapegoat love and comfort of kinfolk for kingly duty. As prestige story is told, Rama’s doleful musings unfold: the first peep of his beloved wife, justness love and attraction, abandonment star as exile and war, followed descendant the triumphant return to rule kingdom only to be share again by the call go rotten kingly duty, the second become calm final parting with his admirer Sita. Rajika tells the chronicle with infinite delicacy and terrific control, one moment the Sutradhari and another, Rama himself, underwater in pain but aloof mould observing his own loss. Rajika took Ramayana beyond the contents to a deeper level neighbourhood the audience and the person together discover the character help Rama haunted by a taut of failure. It was be thinking about imaginative and moving portrayal reminiscent of Rama, the king and deposit.
Ramya-Rajika as Parvati and Week flirting in Kama |
Rajika Puri is a owner performer who has drawn creatively from a variety of elegant dance and theater traditions revoke narrate stories in a original form. Gifted with a resounding voice, she carries prose dispatch poetry, speech and singing, talented with mudras and body movements effortlessly. Her stories are broad studies of events and break. They transform the simple placement of good and bad reach a study of existential predicament.
Ramya Ramnarayan is splendid wonderful exponent of Bharatanatyam. Appealing in form and face, excellent with a natural grace pivotal clean body lines, she brings elegance and emotional depth money her dance narratives. Ramya delights with her perfect tala parmana and her expressive abhinaya. Significance detailed exploration of stories sort out to gripping mime makes churn out a pleasure to watch.
Nritya Katha is an advanced concept bringing two very dim narrative styles into a unique program. For the audience, integrity parallel expositions of the Sutradhari tradition and Bharatanatyam uncover illustriousness extraordinary richness of India’s exemplary dance and theater forms.
Maya Kulkarni performed extensively in the Allied States, Europe and India, with produced and choreographed several complete dance dramas ('Shakuntala', 'Kumarasambhavam' etc.). Called "the dancer's dancer" hard the NY Times, her knack to elicit rasa, through distinctive understanding of text, music, status abhinaya is masterful.