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Home » Dance » Three-day Raindrops Festival concluded online

Three-day Raindrops Festival concluded online

“Love is like a tree, it grows of its own accord, it puts down deep roots into our whole being”.  –  Victor Hugo

In the above-written quotation, I see Guru as the roots, Shishya as the tree and love being the knowledge & guidance which forms a strong internal or spiritual foundation.

Day -3

Diksha Rawat, a young and beautiful looking budding Kathak dancer who is also a disciple of Guru. Uma Dogra ji opened the 3rd and the last day of The Raindrops Festival, 2021.

Diksha began her performance with Nritta – Pure Dance also known as the “Taal paksh” in the kathak repertoire or tradition.

Diksha Rawat

Diksha’s poised posture on the stage, an uthaan playing on the Pakhawaj & Tabla together, Sitar & Sarangi laying the melodious frame of Taal Dhamar, a 14 beat cycle set out a grand mood. For a moment the recorded music, felt like a live orchestra accompanying Diksha.

In traditional red lehenga attire, Diksha looked vibrant and beautiful. She welcomed the audience with a “Paran – Aamad”.

The love and support were crystal clear in the bol padhant of her Guru Smt. Uma Dogra ji.

The paran- aamad was followed by crispy footwork. Diksha with her beautiful dancing kept exploring each maatras, the beats of Taal Dhamar.

The compositions were blooming like tiny beautiful flowers on the stem of Taal Dhamar. Each composition was telling a story, a story travelling a long way through the masters, through generations. I salute that beauty of evolution.

Diksha after her pure dance presented a Thumri which started with a scene of panghat (by the river). The elements of her abhinaya were subtle and had clarity. From enjoying the water splashes to filling the pot with water, she was very convincing.

Uma ji is extremely attentive about Abhinaya along with the technical aspect of Kathak. Most of her students are trying their best to imbibe that into their dancing which is commendable.

The short choreography evoked romance, romancing with movements, romancing with the mood. Here I see romance as an embodiment of Krishna, the romantic man, the romantic lover.

Wishing Diksha, a bright future in the space of Dance & Kathak.

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Ayana Mukherjee, a disciple of Padmashri Guru Jayarama Rao & Vanashree Rao, exuded a lot of dedication through her performance. This young Kuchipudi artist with her initial training from Rabindra Bharati University of Kolkata and later 10 years of training under her present Guru duo, has polished her dancing skills diligently in the Kuchipudi discipline.

Ayana Mukherjee

Ayana, for a change, draped a lavender colour saree as costume teamed it with a shocking pink blouse, ornamented hair-do, minimalistic temple jewellery, emanated her aesthetic sense. The off-white wall as the background contrasted with her get up and was admirable.

This young promising Kuchipudi dancer presented two pieces. The first piece was ‘ Mahadeva Shiva Shambho’ an invocation to the lord of dance, “Nataraj”.

This particular composition is not only traditional but also a very popular composition of Tanjore Shankara Iyer ‘.

Along with the description of Lord  Shiva , the choreography incorporated the story of sage “Markandeya” who at the age of 16 freed himself from the noose of “Yama” earning the boon of immortality through his complete surrender and devotion to Lord Shiva. The music composition was very beautifully designed with shlokas in between and soulful singing.

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“Barase badariya sawan ki”, Ayana concluded her performance with a Meera bhajan. Ayana tried immersing in the bhakti rasa with all her love and devotion for Lord Krishna.

Krishna the “romantic ruler” ruled over Radha’s soul, ruled over the souls of all the gopis, ruled over Meera’s soul too and many more yet remaining a mystery, the divine mystery. Her movements were lyrical. She also used the space very intelligently.

Ayana is blessed with a beautiful face and stage presence. She was emotive, energetic and impressive with her dancing skills. She emoted expressively not just through her facial expressions but her body language too. Her clean lines, formations looked beautiful and was amplified with simple but intelligent lighting, forming shadows on the wall.

The tradition of Kuchipudi is going to flourish more and more through the hands of this young talented dancer, Ayana Mukherjee.

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“The drops of rain quench the thirst of Dharitri, each bead of bhakti smarana satiates the darkness of ignorance;  as I get soaked in Amritavarsha, my nerves enliven in the songs of devotion” ……..

The above-written expression is by Anwesha Mahanta, a Sattra and belonging to the vaishanava monastery of Assam. Only a spiritual soul could come out with such a blissful expression.

Anwesa Mahanta | PC: Inni Singh

Sattra Anwesha began her journey with formal training in dance from her early childhood. Her Guru Bayanacharya Ghanakanta Bora who is also a Sangeet Natak Awardee and an eminent Maestro in the Sattriya Dance tradition has laid a strong spiritual foundation along with the grammar of Sattriya tradition in his student.

Past two decades Anwesha has dedicated herself to learning, researching and interpreting Sattriya dance, music and theatre, elevating her artistry.

Sattriya dance form is a new gem along the other gems in the Indian classical dance forms that has already made a space in the hearts of millions and more.

Anwesha Mahanta, the young emerging Sattriya artist had one long piece as her offering as the last performer of the last day of ‘ The Raindrops Festival 2021’.

“ Jaya Jaya Yadukula”  in the praise of Krishna, the enchanting man, the enchanting  Lord. Krishna, at times, is a  lover, an epitome of compassion, the dearest friend to all his sakhas and the entire Vrindavana and so much more to so many more. The choreography was beautifully choreographed sketched out the multiple heroic facets of Lord Krishna.

This composition is a very special composition penned by the fountainhead of Sattriya tradition – Srimanta Shankardeva ji.

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The dancer performed the piece with her utmost devotion, emotions and involvement – the Ankiya Bhaona – the dance theatre of Sattriya tradition. The dancer looked beautiful in her traditional attire. The beige and royal blue costume with her gold ornaments looked perfect. The subtle minimalistic movements with complete devotion on her face were eye-catching.

The piece was rendered in ‘Raag Sareng’ and multiple Talaa’s like –Ektala, Chutkala, Saru bisam therefore was very musical with the changing taalas – time cycles.

Anwesha Mahanta, a promising, dedicated and thinking dancer with a poetic mind is going to be a bright name as Sattiriya Dance Artiste in the long run.

Click HERE for review of Day-1 and Day-2

About Author – Ayan Banerjee is trained in kathak, and has been practising it for over 15 years. He is a Graduate in Communication having interests in Apparel Designing and Creative Communication.

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