Krishnaarpanam by the students of Laasyadarpana

BY OUR DANCE CRITIC

Art rasikas at Mylapore were treated to an enthralling Bharatanatyam

performance titled Krishnaarpanam by the students of Laasyadarpana

an Institution for Bharatanatyam and allied arts at Rasika Ranjini Sabha

for Anusham Arts Academy last week.

The performance was held under the strong training of Gurus Jeeva

Narayanan and Lavanya Iyer also known as Lavanya Iyer word sculptor

The inaugural piece was a fast paced, vibrant a traditional Pushpanjali

in Gambheera Natai, followed by Ganesha stuti in ragam Tilang, along

with Natesa koutvam in ragam Varali.

Moving to the main feature of Margazhi Tayar Andal the reason behind

the Margazhi celebration through the Andal koutvam with a smart

move at making a combined ovation to varied deities, the students

came to the main idea of the concert the concept of Krishnaarpanam

Krishnaarpanam or an ode to Krishna and surrender through art was

based on the fact that Margazhi is dedicated by the saintly poetess

Andal the human incarnation of Lakshmi Devi Andal koutvam was

choreographed and performed by Laasya Iyer, granddaughter and

daughter of the Gurus under the tutelage of her grandmother Jeeva.

Krishnaarpanam began with a Varnam on Lord Krishna. This Varnam in

Ragam Kalyani Talam adi showcased the essence of a subject portrayed

via description of Krishna in his many garbs, from being a butter thief to

the savior of Gopalas Draupadi and Gajendra, from being the

charming romantic hero of the Gopis to the practical and wise Guru to

Arjuna preaching his Geethopadesham to him and the world. This was

performed by the older students of Laasyadarpana

Next were pieces very beautifully performed by the younger students

Dasavatharam   portrayed via a Hindi Bhajan adapted from the original

by Mohammad Rafi under music direction of Ajay Vishwanath.

Lavanya had picked the bhajan from the movie Jai veer Hanuman,

successfully broadcasting her trial at utilizing film music in a good way

to explain the unethical lack luster method of picking just about any

film music to perform a classical dance

Since her intentions were to showcase the correct adaptation of

mathematics, history, mythology and techniques including Karanam,

Charis and yoga it was very clear that correct choice of music alone can

cater to the art form adaptation.

The beauty of the chosen Bhajan is that Hanuman who

describes Rama’s name as the beloved two alphabets to his vanera

sena praises Him as Vishnu. This was special since it falls around the

same time that Ram Mandir in Ayodhya is being inaugurated

Next was Brindavan Venu a famous Marathi Abhang a very beautiful

descriptive piece showcasing the beauty of music emanating from

Krishna's flute It is commendable that junior students performed with

such perfection and such pieces were chosen which are absolutely apt

to celebrate not just Krishna's but also  these tiny  artists in the making

With the children showcasing the forest scenario engrossed in the

music emanating from Krishna's flute the audience seemed lost in the

art emanating from their well tutored feet, Both the Ram Bhajan and

the Abhang were an absolute treat to the eyes, ears and senses and a

definite promise to the art world that till such true and honest art is

being taught with honesty the art will definitely thrive

Dhanashree Tillana was chosen as the grand finale of the repertoire.

Lavanya true to her favoritism to Maharaja Swati Thirunal the king of

Travancore known for his patronage to arts and artists chose the piece

Since the classical art of Mohiniattam was devised in his court by the

Tanjore quartet of Tamil Nadu,

Lavanya had used elements of Mohiniattam in her choreography but

absolutely adapting it into the paradigm of Bharatanatyam. Of course

the choice of the item was also because it glorified not just

Padmanabha but the dancer the dance and the music, as was

announced

The older set of performers who set the stage on fire  were  Laasya

Parnika, Sahsra, Rakshita, Amelia, Nayana Tanushree and Sneha the

younger lot who were the absolute surprise package Balakamatchi,

Charvi, Dhanya and Santripti and the sub junior students unbelievably

perfect were Sanvika, Svadha and Tarunishri.

The live  accompanying artists gave a great support to the show with

the Nattuvangam  by the Guru Lavanya Iyer who had conceptualized

put together and choreographed the entire concert vocal support was

by Mumbai Shilpa violin and flute by T.V Sukanya and PV Ramana with

Satyanarayan on the mridangam

The on stage coordination and communication of Nattuvangam and

mridangam was in itself a contagious enthusiastic treat. It was good to

see that the mother daughter duo one a senior management person

Jeeva from IIM and the other an accomplished writer poet political

analyst satirist and virtual influencer Lavanya both work towards

honest catering of classical arts in an area like Mahindra city in

Chengelpet