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Diverse art Neewin Hershall and Shyamala Bhave

The second day’s programmes started with a Carnatic vocal recital by noted artist S. Shankar. This was followed by a powerful and vibrant Bharatanatya by a foreign artist Neewin Hershall. It evoked a mixed reaction. No doubt there was anga shuddhi, emotional vividness, mastery over laya and artistic presentation. But one of the most important aspects of Bharatanatya — Ahaaryaabhinaya (costumes) — was almost ignored and sidelined. It should be noted that Ahaaryaabhinaya is one of the four important elements that lend wholesomeness to Bharatanatya. How far can one go in the name of experimentation? Thus the net result of the performance by Hershall was in the negative. With a cleanly-shaven head, he wore a black dhoti and a red waist band and performed.

Those very fine and eye-catching aduvus, tandava movements, powerful laya, vibrant nritta et al in his performance only reminded the rasikas of a Kalariyapattu martial arts performance. The Nattakuranji varna (“Swami Nanudan Adimai”) was filled with Neewin’s precise mercurial movements.

The rendition of a Gopalakrishna Bharathi composition (“Ananda Natanameedam”, Kedaragowla) eulogising Lord Nataraja was pleasing and impressive. Seasoned Kathak duo, Abhimanyu Lal and Vidha Lal, regaled the audience with their technical mastery through some electrifying tatkars, chakkars, bols etc. Their concert craft was marked by an admirable co-ordination, understanding and compatible performance skills. It was sad to note the absence of thumri or any other composition which generally bring out the salient features of satwika-abhinaya.

The Lals began their dance with Surya Namaskara based on the shlokas of Suryaashtaka. The Revathi krithi “Bho Shambho” (Revathi) was presented in an artistic Kathak vocabulary. One could relish the technicalities of Kathak in the Darbari tarana. Vidha gave a creditable account of her abhinaya talent in highlighting the greatness of Goddess Durga.

One was surprised to watch them unnecessarily delineating the 16-beat teental at the end of the recital. Some other abhinaya-piece could have been welcome.

The artistes of the Stem Dance Kampni led by Madhu Nataraj enthralled the lovers of dance with their fluid and artistically patterned movements, nerve-racking freezes and neatly choreographed alignment and realignments. The group discipline and perfect unity of thought, ideas and execution won them appreciation.

One could see the vigorous and vital movements of forms like Thang-ta, Chhau, Kalariyapattu and others. The Sun God, who is the source of energy, was saluted in energetic kinetic motions. The use of lathis, daggers, swords and shields was in place.

An old bandish rendered by Pandit Ajith Pohankar “Paayaliya Jhenkar” served well the purpose of emphasising the beauty of Kathak. The item titled “Sports” (music: Amit Heri) depicted the peculiarities of various games and sports using body language.

Veteran singer-composer Shyamala Bhave’s rendition of Madhukauns reverberated through the Yavanika auditorium on the occasion of the 78th anniversary of Shyamala Bhave’s Saraswathi Sangeetha Vidyalaya. Effectively accompanied by Vageesh Bhat (vocal support) and Gurunanda Kalyanpur (tabla) she brought the beauty and essence of the raga with the help of her vast knowledge, decades of experience and fully ripened scholarship. Nothing was left untouched in the sketching of the raga. The classical tint and the artistic elaboration were unique and laudable. An Abhang and a Purandaradasa pada endeared her presentation to the avid listeners.

Justice Manjula Chellur was in a different role. She led a group of singers comprising Sandhya, Vijaya and Usha to sing some select shlokas translated by Dr. Nath from the Bhagavad Geetha and tuned in different ragas by Shayamala Bhave.

Accompanied by Shyamala (harmonium) and Vageesh Bhat (tabla) the singers were able to capture not only the lakshanas of the ragas in the ragamalika but also the bhaava of those shlokas.

Earlier, the annual Govinda Lakshmi Puraskar was presented to veteran writer, connoisseur and the organising secretary of Sri Purandara Aradhana Trust, Mulabagal and a noted Maharashtrian poetess and actress Asha Gadgil.

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