A crisp recital
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REVIEW Bharatanya recitals by young dancers was a treat to great skill combined with crisp presentation
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Well-defined dance lines, crisp laya, enriching expressions and movements and catchy adavus marked the Bharatanatya recital of young dancer Bindiya Chennaveeresh. Along the same lines was the sincerity of purpose and admirable artistry. The performance at the Nayana auditorium was effective due to the enlivening support from the wings led by Sheela Chandrasekhar (nattuvanga), Nandakumar (vocal), Madhusudan (violin), Sarvottham (flute) and N. Narayanaswamy (mridanga).
Trained by Guru Bhanumathi, the dancer's hard work paid off rich dividends. A krithi by Papanasham Sivan "Gajavadana karuna sadana" accounted for the traditional Ganesha vandana. The Kalyani jathiswara by Dandayudhapani Pillai was explored rewardingly for a captivating nritta. Mugdha nayaki came alive in the Ragamalika shabda. Rasikas were treated to the varied traits of a virahothkhanthita nayaki with lyrical support drawn from the Navaragamalika varna "Swamiye alaizhtodiva". Her abhinaya artistry glowed in the depiction of "Shringapuraadheeshwari Sharade".
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Guru Revathi Narasimhan's disciple L.S. Prakrithi proved her mettle as a seasoned dancer in her Bharatanatya recital held at Padmini Rao's Parampara auditorium during the recent Guru Kittappa Pillai Memorial Dance Festival.
Well proportioned ardhamandalis, attractive facial expressions, a fine mixture of simple and intricate adavus and teermanas marked the performance. The Shankarabharana varna "Manavi chai" was the medium through which the pining nayaki came alive. Her artistic skills were punctuated with hassle-free, leisurely delineation.
The nritta, nrithya and abhinaya brought out the inherent talent of Prakrithi. Guru Revathi Narasimhan (nattuvanga), Neela Ramanujam (vocal), Vivek Krishna (flute) and Gurumurthy (mridanga) imparted useful support.
M. SURYA PRASAD
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