Methil Devika’s performance at KGS: Grace woven in rhythm

At times, words are inadequate to convey the acquisition of ‘Anandam’. That is however 1 felt aft Methil Devika’s Mohiniyattam for Krishna Gana Sabha’s Margazhi Fest.

From the cholkettu to the Mangalam, the show kept the assemblage spellbound, arsenic the grace, quality and lyricism of the creation signifier unfolded.

From the cautiously curated compositions and the philharmonic rendition to the choreography, each facet was seamlessly woven. Devika had an fantabulous squad of musicians, but what enhanced the acquisition was the mode successful which each instrumentality was utilized with a batch of thought and ideation. The abrupt displacement from the mridangam to the sounds of the chenda for melodramatic effect, brushed responses by the flute astatine intermittent intervals, and the majestic dependable of the veena heightened the impact.

A elemental ragamalika taalamalika cholkettu interspersed with ‘Rajarajeshwari Ashtakam’ composed by Adi Shankarar marked the opening of the evening’s performance. A elemental question from a young lad wanting to cognize wherefore determination were truthful galore peacock feathers connected the crown of the dancer successful Krishnattam, was answered successful ‘Song of the Feather’ connected the sthalapuranam and Krishnattam of Guruvayoor temple. The devout Samudri of Kozhikode gets a darshan of Krishna, and composes Krishna Geeti successful praise of Guruvayoorappan. The leitmotif of peacock feather formed the focal constituent successful this composition, and the mode successful which the dancer depicted it astatine vantage moments made a beardown ocular impact. The depiction of the peacock was noteworthy.

Methil Devika showcased with finesse the varied shades of emotions, beryllium it successful the padam by Swati Tirunal successful Dhanyasi raga and the Asthapadi ‘Priye charuseele’ tuned successful raga Suddha Dhanyasi. The progression from bhakti marga and sringara bhava culminated successful an intense, philosophical plane, with Devika exploring the body’s chakras, mandalas and yantras successful ‘Kamalamba Navavarnam’.

The orchestral enactment by Meera Rammohan connected vocals, Kalamandalam Krishna Gopinath connected the mridangam and the maddalam, Trivandrum Sajith Bippin connected the chenda and the edakka, Vinoth Kumar Koppam connected the flute, Pala Vaiju N Reji connected the veena and Ajeesh Menon connected nattuvangam were a pillar of enactment to Devika.