The performances as part of the silver jubilee celebrations of Vasundhara Performing Arts Centre upheld the classicism of dance
Vasundharotsava-2010-11 presented Bharatanatya by the students of Vasundhara Performing Arts Centre at Jaganmohana Palace (as part of a series of concerts spanning over eight days), Mysore, marking the Centre's Silver Jubilee celebrations.
On the concluding day, the spectators witnessed another performance that upheld the classicism of Indian Arts. At the same time, the event exemplified the expandability of the principles of the art form in incorporating innovative methods without in any way detrimental to the basic tenets.
In general, it may be averred that the entire programme stood for meticulously interpreted and well-honed elements of the art form in furtherance of rendering it pleasing, glittering and, all the more, artistic.
In spite of many young artistes involved, one could not find any deficiency in either synchronisation in movements or timing in juxtaposing the sequences. Nevertheless, there were sporadic moments of confusions in pure dance sections, which the intelligent young artistes set right instantaneously.
Further, as refined lasya was running all along as an undercurrent governing both the sections of nritha and nrithya it was evident that the choreographer's vision was to bring the ideas into the lustrous folds kaishikivritti through naatyadharmi. In this process, other vritti-s or the dharma-s worked as complementary factors in achieving a balance.
The above approach naturally rendered the event interesting, colourful and absorbing, shaped by a method and a system, reminding of Bharatha's definition – nrithaangahara sampanna rasabhaava kriyaathmikaa…kaishiki shlakshnanaipathyaa shringara rasa sambhavaa.
The narrative sequence of the different nrithabandha-s was framed in the maarga style: a nrithyanjali that opened the show preceded alaripu (Yoganjali), swarajathi and so on. Yoganjali was something unique, a concept, innovative and academically interesting.
Yoganjali was a traditional alaripu in structure, judiciously incorporating yogic postures that finely blended within the Bharatanatya-specific adavu passages. Blooming formations and colourful configurations enriched the stage. The spectators could sense the meditative grace of yogic postures, simultaneously enjoying the artistic elements of the art form as well.
Swathi Thirunal's “Bhaavayaami Raghuramam” served as a suitable alternative to a Padavarna, in being beatified by being decked with abhinaya and jati-s, the latter proportionately being interspersed between the former sections.
In spite of minute details in the course of narrating the entire story of Ramayana, the above number was precise. Lucid expressions spoke more than what the words did. Observe, for example, the sequence that portrayed ‘visual dialogue' between the scheming and jealous Manthare and the obstinate Kaikeyi who personified brazen effrontery. The young artistes enlivened both these characters with remarkable alacrity and understanding.
Abhang (“Bhaaje Mridang” - Mishra Brindavani), Thillana (Kadanakuthuhala) and “Bhumi Mangala” constituted other numbers. Vasundhara Doraswamy (Choreography and Nattuvanga), Ramesh Chadaga (vocal), Narayan (violin), Krishnaprasad (flute), and Hanumantharaju (managing both mridanga and tabla providing rhythm stability and special effects too) constituted the music ensemble.
Keywords: Vasundhara Performing Arts Centre