Hyderabad-based promising dancer G. Sreenidhi presented an admirable performance at Kalabharati Visakhaptnam. A disciple of Bharatnayam exponent guru Avasarala Rukmajirao of Nruthya Kalabharathi, she honed her skills further under the tutelage of Rajeswari Sainath. She began with an invocatory in praise of Lord Siva. With this sprightly inaugural piece setting the tone, what followed remained gracious and energetic all through. Her artistic proficiency came to fore in delineation of pada varnam Chalamela chesevayya about a devotee appealing to Lord Ranganatha not to be indifferent to her unswerving devotion. Choreographed by legendary Rukmini Devi Arundel, this classic piece was quite demanding and Sreenidhi did not disappoint the rasikas.
With fairly good grasp of the technical and aesthetic nuances involved in elaboration of pada varnam, her portrayal of Nayaki brought out its devotional fervour. Particularly at the line kalakaalamu nee padamule nammiyunna, her abhinaya for episodes of Gajendra Moksham and Draupadi manasamrakshna suggestive of Nayaki’s agony and total surrender to the will of the Lord evoked warm response. She excelled in depiction of sensitive feelings in the language of eye and gestures.
Nandanandana Gopala , a tarangam of sage Narayana Theertha was another notable in the session, where she portrayed childhood pranks of Lord Krishna and his acts of divinity Her presentation of slokam from Srirama Karnamrutham dealing about Ramayana through nava rasas was reflective of her penchant for detailed expression in harmony with fitting footwork. The fare included Mayur nrithyam and Sringaramoortivi , a composition of Annamyya.
Guru Avasarala Rukmaji Rao provided nattuwangam, while J. Sangeetha Kala’s vocal, T. N. Chaitanya on mridangam, U. Venkatesh on flute and M. Neeladri rao on violin lent good support. Visakha Music Academy featured it in its monthly schedule.
