Shilpa Nanjappa, a Kodava resident, through her ‘Tales in Kodava’ brings out the rich culture and ways of worship of her people and the greatness of the river Kaveri (which originates in Coorg). He gave a clear, comprehensive introduction, as the songs were in Kodava.

It was presented as part of the 10th edition of Manthan organized by Nrityaangana of Mangaluru, which included several solo performances.

Shilpa’s entry was full of enthusiasm and she lit up the stage with her expressive face and powerful movements. He started with Kauthuvam in Ragamalika, telling the story of Ayyappa with a deep focus on Mohini. It was an adaptation of a part of ‘The Song of Sasthavu’ Patole PalamA compilation of folktales transmitted orally through ancestral songs. He beautifully presented the contrast between Bhasmasura’s awkward actions and Mohini’s beautiful dance.

‘Sri Mula Kanniye, Pommale Kodu Male’, a patriotic song accepted as the anthem of independent Kodagu, blends legends about the goddess Kaveri river and its current state. The way Shilpa portrayed the ruthlessness with which people pollute its pure waters would have melted anyone’s heart. When she said this was the story of every single woman who has been manipulated and silenced in history, someone nodded in agreement.

Before ending her performance with the self-composed Thillana, Shilpa presented a rendition of ‘Aye, Thumbi’, portraying the angry Kandita heroine who is scorned by the man she loves. His thillana was on the Puthari festival, which is the ‘harvest festival’ of the Kodavas, when they dedicate their rice crop to Igguthappa who, centuries ago, had taught them the method of cultivating paddy. The choreography of this piece featured moves inspired by the indigenous dance forms of the Kodavas.

Shilpa’s performance was followed by four lively solo performances on important female characters. Ramayana and this Mahabharata.

Divya Nair Her portrayal as Chitrangada, the princess of Manipur and sole heir to the throne, who was raised by her father to be a strong warrior and a capable ruler, was impressive. Although her thoughts and behavior differ from those of a woman, tender feelings of love blossom in her heart when she meets the Pandava prince Arjuna. When her son Babruvahana is born, she also transforms herself into a loving mother. Divya brought out the nuances of Chitrangada’s character with her lively movements and charming acting. She left the audience wondering, ‘Who are you, Chitrangada – a warrior, a lover, a mother, or all of these?’ The song was composed by Dr. Sunil and composed by Shankaran Menon.

Indu Venu beautifully transformed into Kaikeyi. Photo Credit: Special Arrangement

Indu Venu Transformed into Kaikeyi, who is torn between her intense love for Rama and unbearable jealousy when she hears that he will be made king. Kaikeyi fears that after Ram becomes king, she and her son Bharat will have no identity. Indu Venu presented the essence of maternal love with Tulsidas’s ‘Tumak Chalat Ramchandra’. Tulsi Ramayana as well as verses written by Dr. Himanshu Srivastava were used for the portrayal of Kaikeyi by Indu Venu. The music and rhythmic composition for this was by Sujesh Menon and Vinay Nagarajan.

Manjula SubramaniamHidimba was brought back to life as a demon. , Photo Credit: Special Arrangement

Manjula Subramaniam It depicts the beautiful demon Hidimba, who falls in love with the tall and well-built Bhima and becomes the eldest daughter-in-law of the Kuru dynasty. Her life with Bheem is brief, and when he goes back to his family, she is alone again. When Gatotkacha is born, her maternal instincts are awakened and she becomes a happy mother. When Bheem returns after many years, she is happy but soon she learns that Bheem wants their son to take part in the war. Hidimba makes her supreme sacrifice as she willingly hands over her son to Bhima and goes back to her life of lonely wandering.

With a highly expressive face and strong masculine movements, Manjula brought Hidimba to life as a demon. At the same time, Hidimba’s personality was elevated by highlighting her tender maternal feelings and her sacrifice. Manjula paints a clear picture of the complex character of Hidimba, who is mentioned only briefly Mahabharata,

The lyrics of this presentation were by Kavita Adooru, music was by Vineeth Purvankara and Jathis was by Manjunatha Putturu.

Radhika Shetty decided to present a different picture of Manthara. Photo Credit: Special Arrangement

-Radhika ShettyThe founder of Nrityangana presented ‘Manthareya Antarala’, a glimpse into the inner world of Manthara. Not being conventionally beautiful and abandoned by her parents, she finds shelter under Kaikeyi’s father and turns into a mother figure to Kaikeyi. His actions are based on his immense love for Kaikeyi and Bharata, who are like his grandson. Did she want something for herself? Radhika’s emotional expressions and sensitive portrayal presented a different picture of Manthara. By the time Radhika concluded, the audience was ready to understand Manthara and even sympathize with her.

Radhika’s presentation was based on Kuvempu Sri Ramayana Darshanam From which he took the songs which were composed by Karthik Hebbar, Bengaluru.

The musical group was absolutely amazing. Vidyasree Radhakrishna’s impressive nattuvangam had dignity, power, clarity and dexterity. Nandakumar Unnikrishnan sang passionately and brought life to the characters played by the dancers. Karthik Vyadhatri’s mridangam maintained the liveliness and Nitish Ammanaya’s flute added melody and sweetness.