Inspired Odissi show
Talented Odissi dancer Sharmila Mukerji impressed the audience at Yavanika with her Odissi performance as part of the Every Friday Cultural Evening Programme. With captivating postures and expressive abhinaya, she did justice to the dance of the tribhanga.
Each movement seemed to be pre-ordained. However, the chowkas were conspicuous in their absence. She began with Mangalacharan (Megha and Kedar) marked by the neat trikhandi pranam. If in the Arabhi Pallavi (ek tali), Sharmila outlined the essence of Odissi, which is said to be akin to the blooming of a bud. Her depiction of Saalbaig's "Ahe neel shaila" (on Lord Vishnu) was pleasing. But the repetition of Arabhi raga one did not relish.
The abhinaya for a bhajan "Suno mana Hari ka naam" was to the mark. She concluded with a traditional Moksha. The performance by her disciples Swathi, Arzoo, Divya and Sanjana during the elaboration of Basanth Pallavi yielded mixed results. The absence of the inevitable Ashtapadi was striking.
Ganesh Desai (vocal), Sowmya Mohanti (pakhawaj) and Sridhar's (violin) good performance was marred by loudness. Was there need for the sitar accompaniment at all?
Young Anuradha Vikranth was at home in her Bharatanatya recital. Performing to recorded music, she rendered pushpanjali and krithi "Ranajani mrudu pankaja lochani" in a series of ragas suffixed with Ranjani. Her sketching of Durga, Lakshmi and Saraswathi was good.
Snehasri, Josephine, Geetha, Anupama, Geetha, Nagabrinda, Ranjani, Savitha and Veena, the talented disciples of B. Bhanumathi of Bharathanjali troupe, covered the stage of the Gayana Samaja and presented with mercurial movements their guru's artistic choreographic items. Thyagaraja's "Vidulaku" (Mayamalavagowla), L.R. Lakshmi's Tamil composition on Shanmugha (ragamalika, Shanmukhapriya, Saranga, Hindola and Madhyamavathi) vouched for the dancing skills of the dancers.
M. SURYA PRASAD
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