The phalasruti regarding attainment of Shivaloka was taken as an illusion, and just as a curtain hides the deity, the hands in pataka hasta moved in front of the face. The piece went beyond a literal translation of the descriptive sloka, to show the uncoiling of the energy pathway through the chakras to the top of the head, to realisation. Girish presented Adi Sankara’s Shiva Panchakshara Stuthi in ragamalika, (music composition Kodayanallur Venkataraman) with imagery based on the concept of the Pancha Kritya (five functions of Nataraja’s dancing posture) from Thirumandiram. A little more energy would have made his portrayal more convincing. Although Sheejith’s style remains the same, adapting to his unique choreographic interpretations was a challenge for Girish, but he rose to the occasion with a flawless performance. He is also part of Kalakshetra’s faculty, and has been working with dancer-choreographer Sheejith Krishna, a former faculty and alumnus. The lanky Girish Madhu has a serene stage presence, which is why he plays Rama. So it was rather difficult to view them as soloists. Three artistes, Girish Madhu, Sreedevi Jayakrishnan and Janet James, who presented Bharatanatyam, were all alumni of Kalakshetra, whom we have earlier seen playing major roles in theirĪlma mater ’s dance productions. Kalakshetra’s ‘Yuva Nritya Utsav’ featured several Indian classical dance styles.
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