Mysore :
by S.R. Krishna Murthy
H. Yoganarasimham (1897-1971) was one of the scholarly musicians of yesteryears. This retired District Education Officer and retired Principal of Maharaja Sanskrit Pathashala had initially learnt music from his mother and later became the disciple of the legendary Mysore Vasudevacharya from 1928 to 1935.
He was a musician, a musicologist, a composer, a critic and an author. He has composed about thirty-eight Krutis, including Swara Jatis, Varnas, Krutis, Padas, Javalis and Tillanas. His Krutis are composed with strict musical grammar and lyrical value. They are acclaimed by the musicians of that era and even M.S. Subbulakshmi has made some of his Krutis popular.
His sons (including H.Y. Sharada Prasad, former advisor to many Prime Ministers of India) and daughter Neeraja Achuta Rao took it upon themselves to popularise his Krutis.
Yoganarasimham has used ‘Deva’ as his signature in his Krutis. Therefore, an organisation by the name ‘Devagitam’ was founded in 2011. During the inaugural function, a twin CD pack containing 18 Krutis of Yoganarasimham was released.
Devagitam celebrated its second anniversary on Nov. 20, this year. The programme was planned in a unique way with a Bharatanatya recital by young danseuse M.S. Archana Rao, dancing to the composition of Yoganarasimham. Her husband, a well-known vocalist of the city, Manasa Nayana was asked to sing for the dance.
Another well-known Danseuse Nayana Shivaram took care of the Nattuvanga, G.T. Swamy provided the mridanga support and flautist C.N. Tyagarajan gave musical support. The dance was choreographed by the dancer herself and Chetana Radhakrishna, another dance Guru of the city.
Archana is a sprightly young dancer. The agility of this fragile danseuse on stage was something to watch. Dancing in a ‘Marga’ way or with a theme is something different. To dance to some Krutis, without creating monotony is altogether a different proposition. In this aspect, Archana is to be appreciated.
She began with a Pushpanjali, a short Jati composition in Adi Tala, saluting the deity, Guru and the audience. Apart from this, all other Krutis figured in this recital were the compositions of Yoganarasimham. Lord Ganesha was worshipped with Ekadantam Upasmahe, in Begade set to Adi Tala. Her innovation in the choreography was evident in the Sanchari, depicting the birth of Ganesha, and how he acquired the elephant head.
The next item was another fine Swarajati composition Bhajare Vrajabalam in Maya Malava Gowla, set to Chaturashra Rupaka Tala. There were three Sancharis ingeniously incorporated in this number. The first was the slaying of the seven out of the eight children to Devaki in Kamsa’s prison and the escape of the eighth child, Krishna. Transporting that child to Dwaraka, Adi Shesha giving protection from the rain to the child enroute, etc. were well depicted.
The second Sanchari was the Raasa Leela at Brundavana and the third one was protecting the cattle and the cowherds from the torrential rain, by lifting the Govardhana Mountain.
There was one more Sanchari Daksha Yajna in the next composition Sada Saranga Nayane (Ranjani-Adi), made famous by M.S. Subbulakshmi. Dakshayani, the consort of Shiva and daughter of Daksha learns that her father is conducting a Yajna. She wonders why she and Shiva were not invited. She wanted to go to that Yajna. Shiva refuses to go there as he was not invited and admonishes Dakshayani also not to go. If she ever go there, she will be ill treated, he says. With all this Dakshayani goes to the Yajna and the prediction of Shiva comes true. As she could not bear the insult, she jumps in to the ritual fire. Here, the danseuse used different Charis, the elements of Karana. Especially her use of Akashiki Chari many times was noteworthy. Karana (Adavu, as it is known now) being the part of a whole single Abhinaya. The use of many Karanas was also equally good.
Navavidha Bhakti was depicted in the next piece Kolalelli Kalakondeyo in Raga Malike (Bilahari, Manirangu and Arabhi), here Yashoda was enjoying the child pranks of Krishna. The next one was a Javali Panchaanga Nodi Bandiha in Khamach. Basically, a Javali is predominantly exploits the Shrungara Bhava. Here, the Nayike is eager to welcome her lover. She gets up in the morning, does the house hold chores like sweeping and watering the front yard, especially this day as her lover is coming, drawing the rangoli, plucking the flower & tying it in a garland, decorating the house with the flower garlands, make-up herself etc. Here the poet has made a little pun also. The lover is coming to her house, of course stealthily. But she questions if he has seen the almanac (Panchanga) and coming in an auspicious time!
Jatis and Nrutta had to be purposefully included into all the above Krutis. Therefore, they were brief. But the Abhinaya in all the Sancharis were excellent and Archana earns full marks.
Especially in Raasa Leela, the way she occupied the entire stage was noteworthy. As Dakshayani, the depiction of anxiety, disappointment, pathos, remorse and other Bhavas were wonderful. The Abhinaya as Yashoda, enjoying the pranks of Krishna, must have brought many sweet memories to many mothers present in the auditorium. The Nayike in the Javali, doing all the morning chores on stage, appeared as though she was actually performing it live. Her involvement was so intense.
Archana concluded her dance recital with a Tillana in Abhogi set to Khanda Triputa Tala. A Tillana is a real test for a dancer, which is the Nrutta part of a recital. When all other compositions figured in the recital were predominantly Abhinaya oriented, this perhaps was the only full-fledged Nrutta oriented composition.
Attempting to utilise his talent for dance for the first time, Manasa Nayana succeeded in getting the feel of it. The other accompanying artistes contributed immensely for the success of this programme.
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / December 04th, 2013
