ENRICHINGSeetha Nandakumara's performance was impressive
The young NRI talents from London delighted the audience at the refurbished Khincha auditorium of the Bharatiya Vidya Bhavan with their noteworthy Bharatanatya performances. Though hailing from an alien environment and ambience, it was heartening to note that the young dancers born and brought up in London have successfully imbibed the Indian culture. It is also worth noting that Dr. Mathoor Krishnamurthy and Dr. Nandakumara have laid a formidable foundation for the propagation and popularisation of Indian art and culture in London by founding the Bharatiya Vidya Bhavan, London. Here a seasoned and talented guru Prakash Edagudde trains the Indian youth in Bharatanatya. His hard work and expertise got reflected in the performance under review. The young dancers Meenakshi Iyer, Arani Shivapathasudavam, Archana Padala, Priyahema Bhuvanyadin, Kavitha Gundu, Lakshmi Kuhenchan, Sumitha Jayaprakash, Madhu Murali, Tanushka Karunakaran and Akshay Prakash led by Seetha Nandakumara brought laurels to their guru. The use of cyclorama yielded mixed results. The group choreography by Prakash Edagudde was excellent and of high order. Even the recorded music was enriching and purposeful. The anga-shuddhi of a couple of dancers needed perfection. However, on the whole, it was a delightful evening. Varied leelas of Lord Krishna were beautifully depicted on the basis of a ragamalika shabda ("Sarasijakshudu jalakamaade"). A Kannada composition "Chikka praayada chenniga Krishna" was the medium for the portrayal of the slaying of Kalinga serpent. Akshay Prakash stole the show as Bala Krishna. I could award full marks for the artistry displayed by Seetha Nandakumara. She delineated a Tamil Pada ("Ananda tandavam aadinaar"; Shanmukhapriya) to show the dance of Shiva. The manner in which she negotiated the 2-3-4-5 jathi patterns and the fluidity in her limb movements was enticing. "Ra ra Rajeevalochana Rama" (Mohana) was elaborated in the form of a mini-Ramayana. Important episodes of Ramayana were re-enacted by the dancers with split-second changes in their roles. The zeal and enthusiasm of the performers fetched rewarding results. The concluding Hindola tillana was marked by captivating neck and head movements spiced with artistic charis and teermanas.
Young M. Ananya, trained by vidushi K. Brinda was able to impress the audience at the Indian Institute of World Culture with her Bharatanatya artistry. Petite and endowed with communicative eyes, Ananya showed her class in the presentation of the greatness of Lord Shiva on the basis of the familiar Revathi krithi "Mahadeva Shiva Shambho". She continued to hold the attention of the rasikas by sketching the colourful and magnificent leelas of Sri Krishna as explicated in "Sri Kamalanatho" and rendered in the form of a varna. Her grasp of nritta, nrithya and abhinaya beautified the number. Ananya was usefully supported by guru K. Brinda (nattuvanga), Rajeshwari Pandit (vocal) and Venugopal (flute).
M. SURYA PRASAD
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