Friday Review
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A complete performance
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The Drishti dance festival was presented to a packed hall
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PERFECTION Dazzling performance
Kudos to young and dynamic exponent of Bharatanatya Anuradha Vikranth and her husband T.M. Vikranth for putting up a dazzling and delightful third Drishti dance festival at the Chowdiah Memorial Hall. The dance festival held under the banner of the a
rtistic journal on music and dance called “Drishti” has been one of the eagerly-awaited cultural events of Bangalore. The packed rasikas had their hands full with a fine classical fare from the participants. The festival had a refined musical and melodic start with talented singer Manasi Prasad’s invocation.
Very sure and disciplined in technique and movements, the students of Guru Bhanumathi evoked the right feelings and experience with their neat and tidy group performance. Sheela Chandrasekhar, Snehasri Srinivas, Geetha, Nagabrinda, Namitha and Namya struck the right chord by rendering the traditional Poorva Rangavidhi in the Mysore Style of Bharatanatya. They proved that they have imbibed the nuances of the dance form and that their artistry is well seasoned. “Omkar”, a salutation to the Trimurthis was both an artistic and aesthetic delight. A new type of experience was created when Ganesha vandana was done in the back drop of Indian rap music. Flowing in grace and with a capacity for allure and satwika and mukhabhinaya the proponent of the dance festival Anuradha Vikranth was in her elements in her rhythm, the footwork (which were the replica of the syllables) and abhinaya bolstered by a lot of expertise. The variations in kaala and gathi, unsullied flow of emotions, an unending zeal and laya perfection vouched for her intimacy with the dance form. Befittingly accompanied by Manasi Prasad (vocal), Prasannakumar (nattuvanga), Maheshswamy (flute) and Srihari (mridanga), Anuradha filled the vast space of the stage with her mercurial movements. The selection of “Brindavana nilaye” (Reetigowla), a composition by Uttukkadu Kavi was noteworthy. In a wholesome presentation, Anuradha became a shringararasollasa chatura (shringara rasa and ullasa – doused in romance and delight), Radha evoking the endearing rasa.
With their trim-figured grace, excellent technique, ability for involvement and well-honed sense of rhythm, the well-trained fully equipped dancer-couple T.D. Rajendra and Nirupama Rajendra were very heart warming to watch. What this young couple has evolved into is making the dance a personal statement expressed with individuality, rather than remain excellent clones. They rendered the technique-oriented Yugal, packing it with tatkars, laya-perfect chakkars, tihais etc. Their artistic compatibility shone forth in the portrayal of a madhurya bhakti predominant Meera bhajan “Aali re mere” rendered in the form of a thumri. “Saath-saat” set to roopak and dhamar tals was artistically and rhythmically vibrant.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
