Jagyaseni Chatterjee’s ‘Flame to Fragrance’ was an Ode for Feminine Energy

Jagyaseni Chatterjee’s ‘Flame to Fragrance’ celebrated femininity. , Photo Credit: Srinath M

The ‘Flame to Fragrance’ presented by Jagisi Chatterjee to the RR Sabha was an evening dedicated to some classic compositions to fulfill his perceptions and reactions as a dancer.

Stark Red and Black Costumes and Lighting Designs increased the visual effect of the first composition ‘Thaka Thaka Andrew Aaduvom’. The composition by Subramanya Bharati was an Ode for feminine energy, with a dancer painting similar to many roles played by women. It was conceived through a powerful depiction of the mother goddess as a manufacturer, destructive, and an incarnation of five elements.

Is the heroine not waiting for his hero that it is a reflection of anticipation that every person experiences for something or another? Was the underlying idea expressed in the comment for Varanam. However, meditation was inherent in representing a woman’s traditional illustration, especially in Varna ‘Sakhi Ina Velayil’, in Anandabhairi raga.

Jagisni Chatterjee captured the feelings of the craving heroine with sensitivity. , Photo Credit: Srinath M

Jagni handled this piece leisurely and his imagination captured a sense of longing with sensitivity. Going away from regular representation of arguments and kajoling, the depiction of the heroine’s dancer as a prominent woman is instructing her friend to be behaving and performing, when she goes to meet her lord, it was interesting. In the second mold of the creeper, sticking to a tree, the pain of seeing birds in love, the moonlight that burnt his body was handled with firm belief. ‘Magitlam Pughazham’ for lines, which throws light on the stature of Mannarguri and Rajagopalaswamy, some inclusion of some Leelas Krishna was distracted.

Jati segments were reduced and were filled with pyroates and pose, however, there is a need to put a little more emphasis on ‘Azhutham’, executing the footwork patterns.

After moving away from regular representation of arguments and kajoling, Jagyasani depicted the heroine as a prominent woman. , Photo Credit: Srinath M

The song ‘Irakam Vermal Ponddu’ by Gopalakrishna Bharti, where a devotee pleaded for the philanthropy of the Lord, was a poignant portrayal, where the dancer effectively communicated emotions. , Purandaradasar Kriti gave scope for theatrical moments of Prahlad-Hiranyakashipu, Arjuna-Durya-Durodhan episode, who increased interest in the story.

The complete concept of creating a thematic story could be detected with greater firm belief of creative ideas, to elevate it with the idea of ​​a path presentation.

While presenting each composition, the flute and violin played, was a little disturbing. Vocal support was appealing by Sai Sabapathi. Dhananjayan on Sridangam, Anantarman Balaji on Violin and Yakeswaran on flute provided competent support. Lakshmi Ramaswamy performed.

Jagyaseni Chatterjee performed flames for the fragrance at the RR Sabha. , Photo Credit: Srinath M