The Angikam Foundation presented their Mahotsav at Gyan Manch on 15 June 2024. Financially, the Mahotsav was supported by the Ministry of Culture, Government of India. A classical dance evening conceptualised and choreographed by Bharatanatyam practitioner Prantika Mukherjee was a memorable event.

The happiness and joy of dancing—perhaps for the first time in their lives—were specially writ large on the faces of young beginners, who lit the stage up with their jubilant expressions, dancing the numbers specially meant for them, choreographed by their mentor. They truly set the stage and the mood of the audience for the stylised dancing of their seniors that followed. The seniors, the repertory members of the Angikam Foundation, and all disciples of the artistic director Prantika Mukherjee performed Sajugada, Rusali Radha, Ambashtakam and Tillana. The first line of the song “Sojugada Sooju Mallige” expressed devotion and love for Lord Shiva, who is the personification of simplicity and the purity of the jasmine flower, and all that expresses positive emotions and energy was venerated in the pure Bharatanatyam genre. The song drew a parallel between the fragrance of the jasmine flower and the divine presence of Lord Shiva, evoking deep and simple emotions of love. The music for the piece was composed by Santa Shishunala Sharifa, a social reformer in Karnataka. He was the son of Imam Saheb, whose dream was to unite Hinduism and Islam. When Sharifa was a boy, he was taught the tenets of both religions. In his birthplace, Shishuvinahala, both Hindus and Muslims revere him as a saint at the same temple. The song was a unique selection by the choreographer, Prantika Mukherjee.

Rusali Radha was an abhang, which is a form of devotional poetry sung in praise of the Hindu god Vitthal, also known as Vithoba. Abhangs are a flawless, continuous process, referring to a poem. While Bhajans focus on the inward journey, Abhangs are more exuberant expressions that emphasise the connection between the individual and the community. Its overriding philosophy is based on the belief that a person’s social identity and personality are largely moulded by community relationships. Abhangs are usually sung during pilgrimage to the temples of Pandharpur by the devotees. The piece featured the story of Radha and Krishna quarrelling. As the divine and the mortal duo were engaged in their childish squabble, the entire scenic beauty of Vrindavan had turned gloomy and depressed—the bees took no mirth in descending on flowers, the peacocks did not spread their wings to dance, and even the birds started arguing. Though it is well known that this mock fight will come to an end, the question left to the audience was, “Will Radha and Krishna reunite? Or will both get angry and not talk to each other?” Raaga Yamuna Kalyani kept the audience enthralled. It was a Marathi composition of Kabi Rangeswar, in Taal Aadi. Guru Bragha Bassel is the dance composer of the piece, which was theatrically conceived and re-choreographed by Prantika Mukherjee.

Ambashtakam was a beautiful devotional dance piece dedicated to the divine mother, Sri Rajarajeshwari. She is incarnated in different forms, such as Amba, Uma, Aparna, Parvathi and Kali, and exists in various divine forms. The dance described her various forms and attributes, including her role as the creator, preserver, and destroyer of the universe. The piece also captured the essence of Amba’s grace, strength, and protective nature. A Raaga Ragamalika composition in Aadi talam of M.S. Sukhi’s music greatly enhanced the aesthetic beauty of the piece choreographed by Prantika Mukherjee.

Tillana is usually the concluding piece performed in the evening before signing off with Mangalam. This rhythmic piece in South Indian Carnatic music that is generally performed at the end of a concert was a composition by Guru Khagendranath Barman, an alumnus of Kalakshetra, where he was the direct disciple of the legendary Rukmini Devi, who resurrected Bharatanatyam before it could go into oblivion. The Tillana performed consisted of pure dance phrases in the pallavi and anupallavi and lyrics in the charanam. Prantika’s disciples performed pure nritta with the virtuosity of the music, which was reflected in the complex footwork and captivating poses of the dancers. The composition was in Raaga Vasant and Aadi Taala.

The Sapta Vahana that was performed was a Bharatanatyam dance production. Sapta Vahana, or the mount, is the steed of the deities, who are all animals with divine powers and capabilities. They have been enumerated in our mythology for thousands of years. These vahans aren’t mere animals or vehicles but have exceptional bonds with their gods or goddesses. In many parts of India, these vahans are worshipped with splendour and pomp, along with their lords. Many stories are written revolving around their devotion and sacrifices for their lords. From the mighty Lion of the Himalayas of Devi Durga to the mischievous little Mushika or mouse of Lord Ganesha, from the flamboyant Peacock of Kartikeya to the deity Nandi of Shiva, from the Serpents of Devi Manasa, to the divine Parrot of Kamadeva, and to the devout Hanumana of Lord Rama. This beautiful and innovative piece was scripted by Udisha Pathak, and the music editing was the work of Aarainaa Khan, Diotima Das, and Satota Banerjee. Abhishikta Gupta was the narrator, while the participants were the students of the Aangikam Foundation. The main performers were Diotima Das in the role of Simha, and Durga was Tista Mondal. Abhishikta Gupta was Shiva, and his vahana Nandi was Adrija Modak. Manmatha, the God of Love, was Anuska Sarkar; Ganesha was Aratrika Mandal.

Prapti Basu was Rambhakt Hanuman, while Rama was Deborima Chakroborty. Manasha was Udisha Pathak, and Kartikeya was Trishita Sengupta. The concept, choreography, and direction were by Prantika Mukherjee.

The writer is a senior dance critic