A triumph of quality
LEELA VENKATARAMAN
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While Malabika Mitra gave evidence of clean classicism without gimmicks, Geeta Mahalik's Odissi dance drama on Krishna was buoyed up by music and fine technique in New Delhi this past week.
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CLEAN CLASSICISM Kathak dancer Malabika Mitra
Professional prowess is not always a decider of career patterns today, with aggressive marketing backup dictating performance opportunities. Watching Malabika Mitra's Kathak recital at the Kamani on the second evening of the Pandit Durga Lal Memorial Festival, one wondered at such clean classicism sans gimmicks finding so little exposure in the Delhi scenario. Whether in the clarity of layakari even in the drut segment where not a rhythmic syllable escaped footwork, or in the naqab and nazar of the mugdha, madhyama and praudha nayikas in gat nikas, or in the swaadheenapatika depiction based on a jhoola song or in executing rare bandishes like one with a bedam tihai ending, it was Kathak of unalloyed neatness showing the best from the Lucknow and the Jaipur schools.
Triumphing over tardy mike arrangements, the dancer gave her best. The abhinaya segment revealed her flare for choice of poetry and themes. Taken from the Mahabharata was the scene of Bhishma confronting Krishna about having broken his oath of not taking up arms "as the son of an only father" by rushing to the rescue of an attacked Arjuna. Krishna, the astute politician, replies that as Vishnu taking myriad forms, `the only father' reference stood negated along with the oath.
Moods of Krishna
SIMPLE RECOUNTING A scene from Geeta Mahalik's dance drama 'Krishnabhilash' . PHOTO: RAJEEV BHATT
Odissi dancer Geeta Mahalik had obviously worked hard on the dance drama Krishnabhilash, conceived and visualised by her. Cowherd, romancing swain or politician supreme, Krishna is inseparable from the Indian psyche, his praises having been sung by myriad poets from Jayadeva, Vidyapati and Surdas to Meera and Charan Das. Krishna is that Absolute that man eternally yearns for but rarely realises. Geeta's involved abhinaya and simple but well coordinated group scenes done by aesthetically clad disciples exhibiting correct technique made up for the lack of much variety in mood, aided by the fine music track comprising melodious singing and competent instrumental accompaniment.
"Bande Brindavanam gurum bhangima roopam" in the percussion evoked the feel of a procession. Meera's "Maito savarike rangarachi" had a joyous flavour, and so did "Jhoolanti range". "Nisdin barat naina hamare" rendered by Geeta had all the longing of the eternally waiting beloved. The unique Kubja Prasang scene with an Oriya song ended with the joy of Roopmati Rati with the hunchback having transformed into a beautiful woman with Krishna's blessings. Some more of nritta exuberance could have found expression here. The concluding prayer with the Mathura Mandali was lively.
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