‘Madhura Madhura Venu Geetam’ was about Radha and Krishna in a gay abandon in Brindavan
Capturing lyrical beauty and the kinetic grace of Bharatanatyam and Kuchipudi in an array of charming numbers, the 57th anniversary of Visakha Dance Academy treated dance aficionados to a rich fare at Kalabharati Visakhapatnam. Founded by Mahanthi Venkateswara Rao, the academy has been at the forefront in promoting classical dance in the city. The distinct choreographic excellence that the artistes displayed turned the audience nostalgic about Guru Mahanthi Venkateswara Rao.
It commenced with Pushpanjali, an invocation in Bharatanatyam. It was Radhika Mohanty who stole the show through her scintillating exposition of a wide array of expressions in perfect coalescence with vivacious foot work. She danced ‘Bhavamulona’ of Annamayya with a fluid ease displaying exceptional talent. Weaving a matrix of complex floor designs and capturing lyrical nuances in a wide range of sanchari bhavas, she looked a kinetic verse on the stage. Particularly the way she delineated the lines ‘Hariavataramule Akhila Devatalu’ depicting Dasa avatarams with its attendant details was awesome. Be it portrayal of a stunned Yasoda on viewing the universe in the tiny mouth of child Krishna or ferocious mood of Parasuram, her agility in transforming from one mood to another in quick succession testified her grip over the idiom of Kuchipudi.
Another piece that stood out was ‘Madhura Madhura Venu Geetam’. Set to raga Athana in the cycle of Adi talam, it was about Radha and Krishna in a gay abandon in Brindavan. Siri and Manasi brought out the romantic import of the lyric in its spiritual aura. The other notables ‘Sankara Girindha Prabho’, ‘Vinaro Bhagyamu Vishnu Katha’, ‘Alarulu Kuriyaga’ and Sabdam were well-received. A bubbly Tillana in Valaji capped the session. About 20 artistes took part in different items. Lakshmi Mohanty and Sanjay Shankara (nattuwangam), NC Koushik and Lakshmi Mohanthy (vocal) M Edukondalu (mridangam), M Niladrirao (violin) and ASR Koundinya (ghatam) and S Kumar (flute) lent good orchestral support.