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

At times, words are inadequate to convey the experience of ‘Anandam’. That is how one felt after Methil Devika’s Mohiniyattam for Krishna Gana Sabha’s Margazhi Fest.

From the cholkettu to the Mangalam, the performance kept the audience spellbound, as the grace, beauty and lyricism of the dance form unfolded.

From the carefully curated compositions and the musical rendition to the choreography, every aspect was seamlessly woven. Devika had an excellent team of musicians, but what enhanced the experience was the manner in which each instrument was used with a lot of thought and ideation. The sudden shift from the mridangam to the sounds of the chenda for dramatic effect, soft responses by the flute at intermittent intervals, and the majestic sound of the veena heightened the impact.

A simple ragamalika taalamalika cholkettu interspersed with ‘Rajarajeshwari Ashtakam’ composed by Adi Shankarar marked the beginning of Methil Devika’s performanc for Krishna Gana Sabha.
| Photo Credit:
SRINATH M

A simple ragamalika taalamalika cholkettu interspersed with ‘Rajarajeshwari Ashtakam’ composed by Adi Shankarar marked the beginning of the evening’s performance. A simple question from a young boy wanting to know why there were so many peacock feathers on the crown of the dancer in Krishnattam, was answered in ‘Song of the Feather’ on the sthalapuranam and Krishnattam of Guruvayoor temple. The devout Samudri of Kozhikode gets a darshan of Krishna, and composes Krishna Geeti in praise of Guruvayoorappan. The leitmotif of peacock feather formed the focal point in this composition, and the manner in which the dancer depicted it at vantage moments made a strong visual impact. The depiction of the peacock was noteworthy.

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

Methil Devika portrayed myriad emotions with finesse at her performance for Krishna Gana Sabha.
| Photo Credit:
SRINATH M

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