Delightful dance recital
A. RAMALINGA SASTRY
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Despite a few aberrations, Sasilatha Krishna's dance recital showed her mastery over the art.
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EXPRESSIVE Sasilatha during her peformance.
Sasilatha Krishna rendered a Kuchipudi recital in Kalabharati last Friday. A winner at the National Youth Festival held at BHU last year and the AP Youth Festival at Hyderabad recently, Sasilatha was taking part in an event organised by Kuchipudi Kalaa Kendram.
Noted guru and founder president of Kendram, A.B. Bala Kondala Rao, from whom she has been learning the art for more than a decade now, himself expertly wielded the cymbals.
The other credits were shared by noted vocalist Dwaram Tyagaraju, mridangist A.A. Srihari (son of Bala), violinist A. Satya Vishal, flautist T. Atchutha Rao, make-up artiste Chiranjeevi and costume designer Kurma Rao.
Sasilatha, a post-graduate student of classical dance at Andhra University, has gained vital experience giving solo performances all over the South, including dance ballets produced by her guru. As part of her performance, Sasilatha reproduced even the intricate nuances of nritta, nritya and natya perfectly.
But the placement of a more-than-life-sized poster, depicting the danseuse reclined and sitting in a gay mood, on the big blue backdrop curtain, reflected none too good a taste, besides going against the norms of stage decoration (especially the backdrop) for a classical dance performance.
The repertoire for the evening comprised the Sri Raga Pancharatna kriti of Tyagaraja, Endaro Mahanubhavulu, with which she started before continuing with Bhamakalapam of Siddhendra Yogi. The Kalaapam, set in Raagamalika, started with Bhairavi followed by Anandabhairavi. This is not particularly a happy order for any vocalist to sing because of the close proximity of the scales.
Though Tyagaraju accomplished the job with creditable poise, many a learned among the audience felt the placement of the items could have been different. Similarly, the choreography, replete with leaping and springing footwork in an effort to make the item not appear physically dragging, turned out to be a setback.
Bringing out the emotional content with empathetic abhinaya in the items that followed - Narayatheertha Tarangam in Chakravaakam, Meera Bhajan in the North Indian style of music, traditional folk item in Aadenamma Sivudu, Brahmamokkate of Annamayya and Sivapanchakshari in place of the traditional mangalam, Sasilatha delightfully danced her way into the hearts of all alike.
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