Friday Review
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Refined moves
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Bangalore was host to a series of dance programmes and they were quite a treat
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VERSATILE Satyanarayana Raju and Subhashini glowed in the art and technique of dance
A week long annual music and dance festival for this year was held at Purandara Bhavana under the aegis of Indiranagar Sangeetha Sabha featuring popular musicians and a solo Bharatanatya performance entitled “Bhakti Manjari” presented by
the seasoned danseuse Roja Kannan.
Roja Kannan’s dance performance was a tribute to saints Purandaradasa and Thyagaraja. It was almost abhinaya oriented. Krithis of Purandaradasa and Thyagaraja provided the melodic framework for the vibrant Bharatanatya choreography. The refined dancer Roja Kannan gave a subtle interpretation to the numbers.
Opening with Thyagaraja’s ever popular krithi “Shobillu saptaswara” (Jaganmohini) she delineated “Nannu paalimpa” (Mohana) with appropriate satwikaabhinaya. Her body language was coherent and the mukhijas were meaningful. The Sri raga pancharathna krithi “Endaro Mahanubhavulu” was transformed into a varna. The nritta and nrithya with rhythmic patterns in changing and shifting accents being woven in between the abhinya were artistic, dramatic and heightened through rhythm the impact of her delineation. “Krishna mantrava japiso”, “Nannu vidachi kadalakura” (Reetigowla) and “Jagadodharana” (Karnataka Kapi) were rendered with feeling. “Bhagyada Lakshmi Baaramma” was the right finale.
Her Guru Adyar Lakshmanan (nattuvanga), Sriradha Shastri (vocal), R. Dayakara (mridanga), Narasimhamurthy (flute) and Nellai Kannan (mridanga) were the enriching musical partners.
*****
The 24th Kinkini Nrithyotsava at Dr. H. N. Kalakshetra began with an enjoyable Bharatanatya by Prakrithi Hosakere. Prakrithi made good use of her slender and sleek body. The famous Todi varna “Roopamu joochi” addressed to Lord Shiva depicts the nayaki entreating the Lord to accept her. The charana in druta kaala (“Maarakoti sundaranga”) brought out the profundity of the dancer. A javali (“Saako ninna sneha”) and a devaranama (“Saddu maada bedavo Ranga”, Salagabhairavi) spoke of her abhinaya equipment. Guru Praveenakumar (nattuvanga), D.S. Srivatsa (vocal) and others lent lively support.
***** In the following Bharatanatya duet by a versatile Bharatanatya dancer, organiser and teacher Sathyanarayana Raju and talented Subhashini Vasanth, the art and technique of the dance glowed. The very beginning with a Pushpanjali was enticing. Though the Tanjore Quartet’s Ashtaragamalika varna (“Swami nine kori naanura”) is shringara-bound, it is to the credit of Sathyanarayana Raju that he along with Subhashini chained it in Shringara-bhakti. He almost redecorated the nritta with his forceful, effortless and aesthetic limb movements. Subhashini added to the effect with her artistry. Guru Praveena Kumar (nattuvanga), Srivatsa (vocal), Narasimhamurthy (flute) and Gurumurthy (mridanga) were impressive.
***** On the second day Chinthana Krishna and Divya T. Prashanth trained by an expert Odissi dancer Sharmila Mukherjee won the laurels for their neat Odissi presentation. Backed with a melodious musical support led by Ganesha Desai (vocal), the duo captured the essence of the Odissi dance in the elaboration of Jayadeva’s Ashtapadi.
***** Shivaranjani, Divyaranjani, Ramya and Lakshmi enthralled the audience with their mercurial movements. These prized-disciples of the Kirans, covered the entire stage artistically in attractive patterns to render shlokas from Rudranaamaavali. “Prabhu Ganapathe” was saluted in a vibrant dance language. The quartet excelled in presenting Annamacharya’s krithi in Bhowli raga.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
