“One of the most wonderful things about dance is, that unless you yourself enjoy the dance, the audience cannot enjoy it” says Smt. Rukmini Devi Arundale, the founder of Kalakshetra in one of her lectures.  Meaning behind these profound words struck me, on seeing Prachi Hemmige perform her arangetram on July 28^th at Littleton High School.

Prachi is a student of Suman Adisesh of “Spandha School of Performing Arts”, Acton Massachusetts and has imbibed all that her teacher has instilled in her through years of learning and hard work. Suman a student of Smt.Padmini Ravi of Bengaluru trains her students in a style unique to her combining the Vazhuvur style with Karanas and Charis.

Prachi’s arangetram began with a recitation of the 8^th verse of Asheervachana by family followed by a speech by Suman who spoke of the great responsibility as an Acharya in passing on the knowledge to the next generation.  A natural dancer with grace and poise, Prachi began her recital with a Mallari in Nattai ragam, set to Sankeerna Chapu Thalam. This musical composition of Anoor Anantha Krishna Sharma in 3 speeds and a tisram with done with aplomb. Sharp eye movements and excellent thala control by the young dancer accompanied by crisp nattuvangam navigating the varying speeds was a fitting beginning to the program. This was followed by an Abhang on Ganesha,” Bhaje mridanga” which saw the use of karanas and charis in various combinations.

Clad in an orange and purple costume, Prachi then went on to perform a Jathiswaram in Ranjani a musical composition of flutist Ravi Kulur. Good use of stage space, interesting rhythmical variations and brisk pace were seen in the handling of this number.

To dance to music that inspires and moves you, is a blessing to have on stage. Prachi was fortunate to be accompanied by a wonderful orchestra consisting of Suman Adisesh -Nattuvangam, NandaKumar Unnikrishnan - Vocal, Ravi Kulur - Flute, Karthik Vydhatri - Mridhangam and Rhtyhm pads and Prahlad Chakravarthy - Kanjira, Morsing and Konakkal. Each one excelled in their parts and together made  the recital a feast to the ears. This was very evident in the center price of the recital, the popular and soulful Charukesi Varnam by Lalgudi Jayaraman.

Prachi’s love for Krishna was brought out beautifully in the varnam, “Innum Enmanam”, a masterpiece musical compoistion in ragam Charukesi set to adi thalam. Crisp Trikala jathi set pace for the wonderful exposition that followed. Conceived by Suman as the first half showing the devotee’s longing and the 2^nd half as Krishna’s assurance to his devotee, Prachi performed the Varnam with a lot of sensitivity and soulfulness. Episodes of Rukmini’s letter to Krishna requesting his help in marrying her, Gopika’s Vastra Apaharanam were well done. The use of the platform on stage to depict a river bank, was a clever idea incorporated by Suman and so was the shawl to portray Krishna in the latter part of the varnam.

Shedding one’s clothes is akin to shedding ego and all the extraneous qualities that one needs to get rid of, to reach salvation. The episode of Gopikas surrendering themselves to Krishna had both the dancer and audience in tears. We could clearly see Prachi becoming a Gopika and tearing up as she/Gopika sought the blessing of Krishna, moving the audience to tears as well.

Post intermission Prachi took to stage in an orange and green costume to perform a keerthanam on shiva “Ananda Thandaveshwarana”.  The use of Kanjira and drum pads  as background music to show the majestic Shiva and talk of his attributes elevated the song to a different level. Different jathis interspersed with karanas and charis made this number enjoyable.

Next item was a Javali in Khamas – “Sami Ninne namminanura” by Veena Padmanabhaiah. A Samanya Nayika is one who is free to love anyone she pleases. She is carefree, willful, smart and lovable. All these qualities were brought out excellently by Prachi.  The coquetry, humor and duplicity were well done in the line “Naati Deivamu” and had the audience going with the flow of the conversation between the nayika and her patron,  King Jayachamarajendra Wodeyar of Mysore dynasty.

Following this a Periazhwar Pasuram was taken up in great detail. Set to Pahadi and Nadanamakriya ragams, the dancer went on the portray the relationship of Krishna and Yashoda. Use of thanam set the stage of emotions to come, while konakkol and drumpads added peppiness to the different characters being portrayed, especially the cows enjoying listening to Krishna’s flute. The episode of Yashoda chiding Krishna for not bathing, yet admiring the dust that glitters like gold on his body, were touchingly portrayed.

Clear and concise emceeing by Niveditha Iyengar helped in keeping the program upbeat throughout. Prachi concluded her arangetram with a thillana in Kalyani in praise of Nataraja, that spoke of Shiva as the “Kripa Samudram” followed by a Mangalam in Madhyamavathi.

Prachi is a sensitive and soulful dancer, a quality that is rare in someone who is young and stepping in to the dance scene. Kudos to Suman for spotting these rare qualities and training Prachi very well. Good wishes to Prachi as she continues her artistic journey and hoping to see her take her rare talent all over the world.

|