For the love of art
INSIGHTFUL Uma Rao covered the various techniques of Bharatanatya
The recent talk on abhinaya before an invited audience at the Regional Institute of Education, Mysore, was impressive. The principal of the institute, Dr. Ravindra's deep interest to promote Indian art forms, for the benefit of students brought good results. The salient features of Melakartha Ragas, Comparative study of Kathakali and Yakshagana and instrumental fusion of santoor and veena (Uttar- Dakshin) were some of the impressive earlier performances.
The analytical lecture cum demonstration by Uma Rao, covered the various techniques of Bharatanatya commencing from "adavus", "mudras", and "nritta-nritya-natya". It was a thought provoking and educative programme.
Madurai T.N. Seshagopalan's veena concert under the aegis of Sri Nadabrahma Sangeetha Sabha, Mysore, was a change from his energetic vocal performance. The chittesvaras in Tyagaraja's pancharatna, "Jagadanandakaraka" had a good impact on the concert. Earlier composition "Vandanamu Raghunandana" (Sahana) was a technically impressive one. However, the delineation of raga Nayaki (Dixitar's "Pranatharthi Haram") was well articulated in "sanchari" taking care not to slip to raga Darbari. The hallmark of the day's concert was raga Kharaharapriya in mishrachapu. Reverberating melody at attetha stayis maintaining the rhythmical excellence in different tala-gathis was rhapsodic. Vidwan Tumkur B. Ravishankar gave good support on mridanga and proved his mastery in the tani avartanam.
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Tughlaq is not a moghul emperor as published in this column last week. We regret the error.
B.S.S. RAO
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