“Adi Parashakti., You, who are the remover of pain of the individuals who take asylum in you; we, who have no other hero, secure us who are unceasingly being gulped by the python of interminable tension, in the unconquerable troubles of life.” — Tripura Rahasya
I was special to be in participation of a standout amongst the most astounding and epic exhibitions to be seen, SHAKTI. This move dramatization was a coordinated effort between two refined and set up move institutes in the field of Classical Arts, Natya Ananda (South Africa) and Kala Bhaskara (Reunion Island). Under the tutelage of Smt Verushka Pather and Smt Logambal Sobrayan Cavery and achieved artists, Shri Karthiegasen Pillay, capable artists conveyed to the stage the grandiose energies of our Mother Divine. Shakti was performed with the parts of Nritta, Natya and showy portrayal.
Set in portrayal, verse and move the execution unfurled the energy of our Divine Mother Adi Parashakti and the different structures to which we love and love Her. It get under way a tirade of feelings, viewing the amalgamation of Bhava and Rasa, all of which moved to the magnificence and administration of Shakti, a mother of all structures. Each piece of the execution was particular to the divinities of the female shape, a Mother that can love so unequivocally. Shakti conveyed to gatherings of people the experience of feeling the Eternal boundless energy of the Divine Mother and her energy that stretch out past this domain or universe. It demonstrated to us the conceivable outcomes SHE grasps, the capacity to make universes and break down our questions, narrow-mindedness and vanity. The move portraying Yashoda and Devaki was entrancing, sending a beating beat into my veins, running a course of both grief and happiness, I wound up inside and without.
Portraying the omniscient and supreme widespread power of Shakti, this move execution gave the group of onlookers an attractive translation of the different types of Shakti, and how SHE has been available in our pages of history, through the types of Ganga, MahaLuxmi, Draupati, Kanagi, Devaki and Yashoda. The instrumental development of move and music gave a splendid edge to the portrayal and gave the group of onlookers an extraordinary ordeal of unadulterated dedication. Kadhala Kadhala The whole margam was performed with the energies of Adi Parashakti, one could feel the nearness of heavenly nature. Adept theermanams and characterized exact foot work improved the portrayal of the stories that unfurled, similar to a smooth string unwinding a powerful well known fact and attention to Shakti . Every execution raised heap shades of commitment and most profound sense of being which additionally gave the group of onlookers a feeling of conviction and reason to understanding the unending sympathy of Adi Parashakti. The unmistakable lucidity of developments of the Varnam surprised the gathering of people, the synchronism of every artist’s means in understanding to the thalam resembled encountering a melodic enterprise, and every artist’s commitment was liquid, ebbing and streaming to a crescendo of melodious authority. The vision of this arrangement with the eyes of Adi Parashakti observing ALL was both entrancing and visionary; it resembled reflection in movement.