Today's Paper Archive Classifieds Subscriptions RSS Feeds Site Map ePaper Mobile Apps Social
SEARCH

Friday Review » Dance

Updated: October 13, 2011 16:49 IST

Dasara dance treat

P. SURYA RAO
Share  ·   print   ·  
Ragamayi Balasubrahmanyam.
The Hindu Ragamayi Balasubrahmanyam.

Deft footwork marked Ragamayi Balasubramanyam's Bharatanatyam performance.

Dasara cultural programmes were in full swing in Vijayawada. The presiding deity of the city being Goddess Kanaka Durga Devi on the Indrakeeladri hill, the cultural programmes were organised by the Sri Durga Malleswara Swami Devasthanam at Mallikarjuna Maha Mantapam near the foothills of the Indrakeeladri.

One of the high-profile programmes was the Bharatanatyam performed by 19-year-old Ragamayi Balasubramanyam, a student of Bharatha Chudamani Academy of Hyderabad and a prime disciple of Nemalikanti Suvarnalata, retired principal of the Government College of Music and Dance. Ragamayi Balasubramanyam also holds a first class diploma in Bharatanatyam from Sri Potti Sriramulu Telugu University.

Her performance started with Simhasana Sthithe, a Muthuswami Dikshitar composition which was preceded by an exquisite raga malika Ambashtakam slokam. The kirtana set to Rupaka talam depicted the Dasavataras of Durga mata depicting the various forms of the Devi by the dancer's superb abhinayam.

Ragamayi showed great ease while she performed the nritta-oriented Jathiswaram which followed next, impressing with her precise foot work and graceful movements. Tillana is always a thrilling climax to any dance. The Sankarabharanam tillana presented by Ragamayi was not an exception. Her movements and footwork were mercurial and giving a scintillating treat to the packed crowd. Ragamayi's performance was enhanced by the efficient nattuvangam rendered by her guru Suvarnalata. Melodious vocal support came from Hemavathi and good support was provided by violinist Balaji and mridangam player Bhanuprasad and makeup by Surabhi Raghunath was excellent.


O
P
E
N

close

Recent Article in Dance

The argumentative dancer

The artiste and the intellectual, are they best as two separate compartments? Why do we fear when they co-exist?  »