Vishnu Digambar Jayanti is back with fine artistes and a zen-garden like stage decor

This time, thanks to the festivals falling earlier, the arts season is truly and well upon us earlier too. The early start of the season saw some very competent performances heralding the season. The most outstanding festival that has kept its standards for decades now with its fine selection of artistes and elegant presentation is undoubtedly the annual Vishnu Digambar Jayanti hosted by the Gandharva Mahavidalaya. Over the years, the festival has really become a rasikas’ festival with the eclectic choice of artists and the compositions they choose to present. There is no playing to the gallery, there are no gimmicks — just wonderful music in the best setting for the cognoscenti or a guni audience.

I have always loved the stage décor of the Jayanti. The stage ambience this time too was so understated and simple that it resembled a zen garden. After missing Hindustani vocalist Venkatesh Kumar’s concert several times last year, I was finally able to hear him at the jayanti. What a powerful voice, what a training — the truth is that whatever I say about his music will be an understatement. I can only salute the soil of Dharwad that has given us luminaries like Bhimsen Joshi, Sawai Gandharva and now Venkatesh Kumar. Whenever I heard him, I have been reminded of Bhimsen Joshi. But not this time. He has firmly come into his own and it is a delight to hear him.

The Kathak flag was kept flying by danseuse Shovana Narayan capturing the myriad moods of the monsoon as she painted a lyrical picture with her recital MonsoonScape of glistening drops that heal the parched earth. The sahitya or literary component enhanced the mood as we bid adieu to the most beautiful season of the year. The striking costumes in hues of blue highlighted the theme of magical droplets as they wash away the blues.

Close on this came Krishna Janamashtmi and senior dance exponent Uma Sharma brought alive the Krishna lore with the traditional raas of Vrindavan in her ballet Radhe Radhe, that accentuated the sanctity and spirit of the cultural heritage inherent in the Indian subcontinent. She used devotional compositions of Swami Haridas, Surdas, Meera and Jaydev; a few poets of the Bhakti movement including Raskhan. Uma Sharma’s infectious enthusiasm tinges every sphere of both her dance and interactions. She involves both her fellow artistes and audiences in this chakra of warmth she exudes.

Every year Utsav, the Odissi danseuse Ranjana Gauhar’s dance academy holds a dance festival, Saare Jahan Se Accha, where she invites an interesting mix of classical performers — often from other parts of the country and the world. This year’s festival was very cleanly put together with a very competent selection of nearly 75 artistes who held us enthrall with their uncluttered productions. Ranjana’s own rendition of the Jayadev’s Geeta Govinda Ashtapadi Dheere Saamere was replete with subtle abhinay. For me, the two performances that made the mark was a charming presentation of the newest classical dance form Sattriya by Anita Sharma and her disciple. It was lyrical, delicate and aesthetic. The exquisite outfits of the form are a celebration of the textiles of the region. The other was Vyjayanthi Kashi’s Kuchipudi recital with the excellent synchronization between the dancers that brought alive the two compositions — Narasimha and Pahi Pahi Jaga Mohana Krishna.

Every year, it is usually the painters who keep flying the art flag high with exhibitions all through the summer. I find these efforts almost valiant, for the footfall during the summer months dries into a thin trickle. It can be heartbreaking for the artists when the audiences he wants to share his work with are not forthcoming.

In this context, “The Odyssey - the journey of the human soul on its quest to self realization”: an art show with young artists Priyanka Batra, Sumita Chandani, Somnath and Sanjukta was rather heartening. As a French philosopher said, “We are not human beings having a spiritual experience; we are spiritual beings having a human experience.” These experiences all constitute what we call the journey — the odyssey of our individual existence as we ultimately merge with the divine. In this group, Somnath brings a whiff of Shantiniketan with its inspiration drawn from nature, culture and heritage. For the multi-faceted Sumita Chandani who brings a varied skill set to her work, art is an ongoing journey of self discovery. To do justice for her love for the French language and cinema, which have had a deep and lasting influence on her, many of her works carry the stamp of French culture and art. Bhawna Arora’s inspiration has been Vincent Van Gogh’s famous words, “I dream my painting and then I paint my dream.” Sanjukta on the other hand took the understanding of mind and heart as her inspiration for this series. Her continuous dialogue with her inner self gave her the clarity that though the path to soul searching and contemplation is lonesome and arduous.

Dr Alka Raghuvanshi is an art writer, curator and artist and can be contacted on alkaraghuvanshi@yahoo.com