Great beginnings
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Two promising dancers floored Kolkata audiences the other day with riveting performances. A rogue spotlight nearly stole the show, though. MEENA BANERJEE
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New Promise Supriya Nayak
Supriya Nayak’s Odissi recital was a sheer delight. She came to Kolkata from New Delhi as one of the two participants of the third chapter of Ankur, an annual event featuring budding performers, organised by Ranan this past week. This event, a
ttended by many eminent dancers, was supported by Open Doors Event Management and Sangeet Natak Akademi, New Delhi.
Following the tradition, she commenced with a mangalacharan in raga Patadeep set to Triputa tala, choreographed by her guru Kiran Segal. The brilliance of tandava element, depicting Lord Shiva, gradually tapered down to invoking the blessings of the Lord with “Traahi maam bhava-saagaram”. Having set the mood, she moved on to a pallavi in Mishra Shankarabharanam set to Ektali. The lyrical beauty of the pure nritta was presented with chiseled mudra, bhangi and chhanda.
Her tribhangi (literally meaning ‘broken at three points’), with the head, torso and the lower part of the body swaying in opposite directions, had remarkable fluidity akin to a mellifluous voice. Based on this strong f
oundation, she made the sculpture-like poses, the intricate footwork, the complex gait and the movements of this rather difficult dance form flow with such effortless ease that her delicate, slender frame looked like a wispy feather — gracefully floating in the wind.
“Bato chharo”, her next item for abhinaya, was based on an Oriya poem by Banamali Das depicting an exasperated Radha asking Krishna to stop playing mischief and allow her to complete her chores. Supriya handled the varied shades of romantic mood in ekaharya with superb clarity.
She was at her best in “Jago Maheshwara”, a brilliant composition by her dada-guru, Mayadhar Raut. The emotive accompaniment by Ram Chandra Sahu (vocal) supported by an inspired Kiran Segal on the manjira, Surendra Maharana (mardala) and Gopinath (violin) took this concluding item to devotional heights.
Bharatanatyam
Milan Adhikari, the second artiste of the evening, presented Bharatanatyam supported by his guru Abhay Pal on the nattuvangam. Sukumar G. Kutty, T. Champak and N. Sankar gave him vocal, flute and mridangam accompaniment respectively.
He commenced with Hanuman stavam in ragamalika set to Misra chapu and focused on three interesting incidents. The first depicted Bhima’s anger when he found an old monkey’s tail blocking his path. After a while this turned into dismay and ultimately to reverence. The second incident narrated how Mahiravana, who kidnapped Ram and Lakshman, was killed, and in the third Hanuman was depicted as the messenger of Ram.
He infused power in the characteristic linear movements of his dance form and was most impressive while striking and holding on to difficult poses during and at the end of an item.
Ardhanarishwara was his next item. The reconciliation of diverse power-forces, despite his huge, eloquent eyes and the bols in male and female voices, could not peak due to the lack of lasya associated with Parvati, the inseparable ardha (half) of Lord Shiva.
An inspired tillana began with great promise.
Unfortunately, it was cut short by a spotlight that flew down from the proscenium; nicked the hapless dancer’s forehead, fell, broke and unnerved all present.
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