On the third day of Pallavothsava 2012, the six-day music and dance festival organised by Vasundhara Performing Arts Centre, two young dancers, Sree Lakshmi Ranganath and Manasa T.L. presented Bharatanatya at Jaganmohana Palace Auditorium in Mysore.
Young Sree Lakshmi started her concert with Ganesha Prarthana followed by alaripu. The dedicated artiste’s approach was appealing, though some of the elements of the art form needed better honing.
Her expressions were in tune with the lyrical imports; yet finer touches would have conformed them to the definition of the concept of saathvikaabhinaya.
The above observations were evident in compositions like ‘Rupamu Juchi Valachi Vachi’ (Thodi – Ramaswamy Dikshithar) and ‘Baagilanu Theredu’ (Ragamalika – Kanakadasa).
Further, she was appreciably competent in presenting adavus, though she could have desirably maintained a smooth flow and continuity between different patterns of these passages. More than anything else stances needed some attention in the areas of stability, symmetry and acuteness.
Take for example, the basic araimandi , which is one of the indispensable postures in providing a definite and elementary outline to run as an undercurrent in the process of evolving any other posture or set of movements.
Any compromise in the acuteness of postures will deprive the stage activities of their grace and beauty. Guru Padmini Ramachandran (Natuvanar), Nandakumar (vocal - melodious and succulent voice), Narayana (violin) and Janardhana Rao (mridanga) accompanied the dancer.
***
T.L. Manasa’s performance was exemplary: one could distinctly mark neatness in presenting the numbers at all levels of the progressions of the concert.
The young danseuse assumes postures with remarkable felicity and maintains stability for the required duration; vinyasas are complete and crisp gracefully culminating in the sprightly cadences.
She would execute the mukthayi adavu-s and the arudhi-s from various angles of the passages – smart and agile.
Whereas above merits related to the pure dance sections, her lively performance encompassing different genres of the art form embodied equally expressive moments in such compositions like ‘Saamiyai Varasolladi Sakhiye’ (Padavarna – Shankarabharana - Dandayudhapani Pillai) and the concluding Devaranama (‘Bhagyada Lakshmi Baaramma’ – Purandaradasa).
She materialised every imagination and vision her Guru had conceived while choreographing the padavarna; whether it was nrutha or the nrithya section, the artiste’s fluency and ease, combined with her expressions, elevated the sequences to such degree of accomplishment, which would exclusively be an outcome of an extempore of an accomplished dancer.
Varna under consideration portrayed a heroine longing for the beloved (Lord Sapthagiri Vaasa in present instance).
Shringara, thus convincingly presented worked as an instrumental cause in leading the listeners to enjoy a serene and soothing atmosphere.
Vasundhara Doraswamy (choreography and nattuvanga – crisp and inspiring), Nanda Kumar (vocal - pleasing), Narayana (violin) and Hanumantharaju (mridanga) constituted the music ensemble.
