Jagyaseni Chatterjee’s ‘Flame to Fragrance’ was an ode to female power -OxBig News Network

Jagyaseni Chatterjee’s ‘Flame to Fragrance’ celebrated womanhood.
| Photo Credit: SRINATH M

‘Flame to Fragrance ‘ presented by Jagyaseni Chatterjee for R.R. Sabha, was an evening devoted to ideating her perceptions and responses as a dancer to some classic compositions.

The stark red and black costume and lighting design enhanced the visual impact of the first composition ‘Thaka thaka endru Aaduvom’. The composition, by Subhramanya Bharati, was an ode to the female power, with the dancer drawing parallels to the a number of roles performed by ladies. This was visualised by way of a robust depiction of the mom goddess as a creator, destroyer, and an embodiment of 5 parts.

Isn’t the nayika’s watch for her hero a mirrored image of the anticipation that each human being experiences for one thing or the opposite? was the underlying thought conveyed within the commentary for the varnam. However, the main focus was rooted in representing the standard portrayal of a lady in love, particularly within the varnam ‘Sakhiye inda velaiyil’, in Anandabhairavi raga.

Jagyaseni Chatterjee captured the feelings of the longing nayika with sensitivity.
| Photo Credit:
SRINATH M

Jagyaseni dealt with this piece in a leisurely method and her imagery captured the emotion of longing with sensitivity. Moving away from the routine illustration of pleading and cajoling, the dancer’s depiction of the heroine as a dominant girl instructing her sakhi on how her behaviour and manner must be, when she goes to fulfill her lord, was attention-grabbing. The different sancharis of creeper clinging on to a tree, torment of watching birds in love, moonlight burning her physique have been dealt with with conviction. For the traces ‘Magitalam pughazhum‘, which highlights the stature of Mannargudi and Rajagopalaswami, the incorporation of some leelas of Krishna was distractive.

The jathi segments have been quick and have been stuffed with interesting pirouettes and poses, nonetheless, somewhat extra emphasis must be positioned on ‘Azhutham ‘ whereas executing the footwork patterns.

Moving away from the routine illustration of pleading and cajoling, Jagyaseni depicted the heroine as a dominant girl.
| Photo Credit:
SRINATH M

The tune ‘Irakkam varamal ponaddu ‘ by Gopalkrishna Bharathi, the place a devotee pleads for the benevolence of the lord in the direction of him, was a poignant portrayal the place the dancer communicated the feelings successfully. . The Purandaradasar kriti gave scope for dramatic moments of Prahlada-Hiranyakashipu, Arjuna-Duryodhana episodes, which added curiosity to the narrative.

The entire idea of forming a thematic narrative, may have been explored with better conviction of artistic concepts, to raise it from the concept of a Margam presentation.

The flute and violin performed whereas introducing every composition was a bit disturbing. Vocal help by Sai Sabapathy was interesting. Dhananjayan on the mridangam, Anantaraman Balaji on the violin and Yakeshwaran on the flute offered ready help. Lakshmi Ramaswamy performed the efficiency.

Jagyaseni Chatterjee performing Flames to Fragrance at R.R. Sabha.
| Photo Credit:
SRINATH M