A collective accomplishment
PHOTO: V. SREENIVASA MURTHY
VIBRANT The ensemble led by Anoor Ananthakrishna Sharma was enjoyable
The senior most dancer-Guru B. Bhanumathi has done a lot of good by scheduling the celebrations of her dance school Nrithya Kala Mandira's silver jubilee year in a unique way. The celebrations launched during last December are spread over 12 months. A dance programme every month of the year, featuring different leading dancers from different parts of Karnataka, marks the celebration.
The first day's programme began with an instrumental ensemble Laya Lahari, led by versatile percussionist Anoor Ananthakrishna Sharma. The ensemble comprised Pushpa Kashinath (veena), M.K. Pranesh (flute) and S. Yashaswi (violin) on the melodic side and the percussionists who were teamed up with them were V. Krishna (mridanga), C.P. Vyasa Vitthala (khanjari), Somasekhar (ghata), B. Dhruvaraj, Sathyakumar (dholak), Ravikumar (tavil), Karthik Mani (rhythm pads), and Srinivasa Murthy (morsing). Anoor Ananthakrishna Sharma, who was on both the tabla and konnokkol, was the successful director of the ensemble. The manner in which he and Somasekhar rendered the konnokkol was extremely enjoyable, creating a new experience. It was well planned and also well rehearsed. Moreover, each of the above artistes is not only experienced but also an expert in his own right. Regular performing opportunities have equipped them with the necessary skills and craft.
The concert began with the rendition of the Nattakuranji varna setting a lively tempo. Then came the detailed exposition of Nasikabhooshini in the form of a raga, tana and pallavi. Pushpa, Pranesh and Yashaswi sketched the raga with all its nuances intact, on a wider canvas. The artistes shared the alapana at different stages and at the end a glowing picture of the raga stood before us. In the next stage, it was further beautified through tana. Flautist Pranesh sang the pallavi line "Harane Manoharane Umapriyane Gaana Natya Laya Priyane" set to adi tala. It was traditionally handled by the instrumentalists with kaala and gathi bedhas. The scholarly kalpanaswaras paved the way for the percussionists to exhibit their rhythmic and instrumental prowess in the tani avartana. The members of the percussion ensemble displayed sharp reflexes and a good understanding in highlighting the intricacies of laya, ultimately reaching a vibrant crescendo.
* * * * *
This was followed by an artistic Kathakali performance by the veteran Guru Usha Datar. She is adept in Bharatanatya, Kuchipudi Natya, Kathakali and Mohiniattam. Her consummate artistry in Kathakali drew the accolades of the packed rasikas. Usha had chosen to perform the traditional and popular episode of Poothana Moksham.
Putting on the elaborate and traditional sthree vesha, Usha transformed herself into Poothana and her nuanced dancing and abhinaya caste a spell on the viewers.
With a highly supportive and effective musical support lent by Raju Datar (vocal), Paramashivan (violin), Ashwathanarayana (flute), Janardhanarao (mridanga), and Karthik Datar (chande), Usha Datar came out in flying colours with her seasoned artistry. Her movements on the stage and pirouettes were vibrant and graceful. The movements of eyebrows, eyes, fingers and limbs were exemplary and typical of Kathakali. The short recital left an indelible impression on the lovers of dance.
M. SURYA PRASAD
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
