The Natya Sabha of Mysuru presented two captivating Bharatanatyam recitals on Sept. 13 at Veene Seshanna Bhavana, both centred around the theme of Lord Krishna.

The first presentation, ‘Madhava’, was performed by the talented young dancer Vid. R. Pavan Kumar, while the second, titled ‘Gitamruthaduhe Namah’, was choreographed and presented by Dr. Kripa Phadke along with her disciples from Nrityagiri. Together, the recitals offered a spiritual immersion into Krishnamritha — the nectar of Krishna’s divine presence.

‘Madhava’ by Pavan Kumar

Pavan Kumar was accompanied by a well-coordinated team: Vid. Apoorva G. Moorthy on nattuvanga, Vid. Vineeth Puravankara (vocal), Vid. Vikram Bharadwaj (mridanga) and   Vid. Samruddh (flute).

He opened with a sloka ‘Mathru Devo Bhava’ followed by the traditional Alaripu in Chaturasra Eka Tala, performed with precision and grace. His strong aangika abhinaya (expressive body language) testified to his dedication and training.

A highlight was the Pada Varnam (Ragamalika – Adi Tala) narrating the story of Andal and her divine love for Lord Vishnu. Pavan portrayed Andal’s devotion with emotive abhinaya and impeccable footwork, effectively engaging the audience.‘Rangapuravihara,’ a majestic kriti of Muthuswami Dikshitar, is often heard in vocal recitals but was impressively adapted for dance.

With effective choreography, Vineeth’s resonant vocals, and subtle expressive nuances by Pavan, the piece became a devotional experience. The mridanga and nattuvanga support, along with the soft melodic flute, enhanced the atmosphere. A lively Thillana composed by Vid. K. Brinda in Raga Sallapa served as a fitting conclusion to a dynamic performance.

‘Gitamruthaduhe Namah’ by Dr. Kripa Phadke & disciples

Renowned for her dance drama productions, Dr. Kripa Phadke brought the Bhagavad Gita to life in this well-conceived production, penned by Diwakar Hegde. The work captured the eternal dialogue between Sri Krishna and Arjuna, set on the battlefield of Kurukshetra.

The drama unfolded with Arjuna asking Krishna, his charioteer, to position the chariot in the middle of the arena. On seeing his kin among the opponents, Arjuna is struck by grief and moral conflict, putting down his weapons. What follows is Krishna’s divine counsel — the Bhagavad Gita — which leads Arjuna to realisation and readiness to perform his duty.

Kripa’s choreography brought this philosophical dialogue to life with visual richness. As Krishna and Arjuna conversed, relevant scenes were artistically enacted in the background by her students, enhancing the storytelling. Even elements like the horses pulling the chariot were depicted with remarkable realism.

Kripa, playing Arjuna, conveyed deep emotion and inner turmoil through her mature abhinaya. The portrayal of Krishna was equally compelling, exuding calm authority and wisdom. The use of Kannada poetic verses made the performance accessible and emotionally resonant for the local audience.

The production stood as a testimony to Kripa’s creative excellence and the dedication of her troupe.

Both music and dance events were a treat for the connoisseurs of Mysuru, showcasing the city’s rich cultural fabric and the promising talents of the younger generation.

The recorded music had vocal by Vid. Rajeshwari Pandit and the back ground music by Vid. Rakesh Sudhir.                                                                                                                       —Dr. Rama V. Bennur