A four-day fifth edition of Nataraja Music and Dance Academy’s Vysakhi Nrityotsav treated dance aficionados to rich fare at Kalabharati, Visakhapatnam. It was an awaited annual event in the city and the dance lovers turned out in large numbers for the inaugural session. With a spectrum of dance forms unfolding, it was like journeying across the country through the idiom of dance. Featuring Kuchipudi, Bharatnatyam, Odissi, Kathak, Mohiniattam, Manipuri, Vilasini Nrityam, Ravindra Nrityam and Andhranatyam, the fete bore out the cultural grace and grandeur of different regions. While the maestros’ performances stood out for its exceptional craft; that of up and coming artistes held out rosy picture of tomorrow. With each coming out with the best of their repertoire, the fare sparkled as varyingly as the dance forms. With almost as many as four performances, each session seemed rather crowded. Particularly for dances involving exquisite group formations such as Odissi, paucity of duration looked obvious for the performers to spread out in full scale and for the viewers to take pleasure in aesthetic nuances of refined presentations. The only performance that stretched to its full was Vilasini Nrityam by renowned Swapana Sundari captivating the viewers for over a couple of hours.
The fete took off with Kuchipudi. Principal Kuchipudi Kalakshetra of Vempati China Satyam and maestro Hari Ramamurthy presented ‘Prevasa Daruvu’ of Mahishasura with aplomb that set the tone for the rest.
Bhubaneswar-based Meera Das’s Odissi on third day held the viewers spellbound. With perfect coalescence of foot work and expressional élan Meera Das and her disciples Malabika, Lopamudra, Ananya, Pushpa and Shibani made a splendid presentation of chosen items. With masterly control over intricate matrix of foot work and fluid ease in transformation from one mood to other in a jiffy; it vivified Dasavataras in the kinetic idiom of Odissi in its entire grandeur. In Nritta, her choreography weaving complex floor designs and use of bandhas – acrobatic elements — which are usually seen in Gotipua version of Odissi stood out for its exceptional precision.
Iridescent with innovative and imaginative choreography Swapana Sundari’s Vilasini Nrityam offered a sumptuous treat. Having warmed up the session with an invocatory, she delineated the Pada varnam. This relatively less known dance form in this region evoked warm response for its aesthetic appeal. Javali and Parijatham were other items that she presented in her inimitable style. Earlier, young danseuse Sai Jyothis’s Marakatha Manimayachela and Sancharadhara an asthapadi of Jayadev in Kuchipudi style stood out. Ashtapadi was reflective of her talent to lend a mobile expression to poetic nuances.
Iridescent with innovative and imaginative choreography
Swapana Sundari’s Vilasini Nrityam offered a sumptuous treat. This relatively less known dance form in this region evoked warm response for its aesthetic appeal.
