Distinct dance forms, dramas draw audience applause

Bahuroopi National Theatre Festival to conclude tomorrow

Mysuru: There was a dance form depicting Hindu-Muslim unity on one side and on the other, the dramas in different languages. Both were a treat that filled the appetite of the discerning Mysuru audience.

The ongoing 18th Bahuroopi National Theatre Festival (Jan.12 to 18) that entered the fifth day yesterday continued to inspire the theatre goers at the Kindarijogi in Rangayana premises with dance troupes from Madhya Pradesh, Haryana, Andhra Pradesh and Kerala presenting their art and culture through dance forms. While Andhra Pradesh’s artistes presented the adventurous ‘Tappeta Gullu’ dance, the artistes from Kerala presented the north Kerala folk style that depicts Hindu-Muslim unity with the theme ‘Kol Kali Attam’ that had the audience in raptures.

Later, the colourfully attired eight-member troupe from Madhya Pradesh including men and women, through their dance ‘Badai,’ presented the forms during birthdays, marriages and other festivals even as the onlookers captured the moments on their mobile phones and clapped to their hearts’ content egging  the performers.

After this, the dancers from Haryana with nagari and dollu presented folk dance.

Dramas: The plays that included Manipuri language’s ‘Malemnganbi’ at Kiru Rangamandira, Assamese language’s ‘Baagh’ at Bhoomigeeta, Kannada language’s Yakshagana ‘Dakshayajna at Vanaranga and Sri Ramayana Darshanam at Kalamandira were all staged to houseful audience.

In the Assamese play ‘Baagh’ directed by Rabijita Gogoi, the saree and burqa are the two main characters. One is educated and the other illiterate. One is escaping and the other is a rape victim. But both are running away. As the play proceeds, the two characters shifts from one to another. The woman wearing the burqa is disclosed as Hindu. The woman who was telling the stories of a tiger, starts thinking that this is madness. And the other woman thinking that tiger is a vacuum, now thinks that tiger exists, it’s real. This enhances the play’s depth that the audience enjoyed.

In the Yakshagana ‘Dakshayajna’ at Vanaranga, the arrogant Daksha Prajapati starts a yajna  to teach Lord Shiva a lesson and the story revolves around Dakshayani which captures the imagination of the people.

Clay artefacts: In the Kumba Kala Kutira stall put up in the premises of Rangayana as part of the Theatre Fest, earthen lamps, toranas, jugs, environmental-friendly water bottles, magic lamps, idols of Ganapati, dining sets, yoga meditation beads, key chains and many other items are available.