Talent and promise
|
Sai Nrityotsav 2 showcased young dancers with commitment
|
PROFICIENT Veena Chandrasekhar and Nishant Aravindakshan
Sai Nrityotsav 2, the second edition of Sai Arts International’s monthly series for young dancers, was held recently in Bangalore.
In the first segment of the evening, children training at the Aradhana Institute of Bharatha Natya, headed by Sudha Nagaraj, performed.
Clear movements
The individual performances commenced with a recital of four items in the same genre by Veena Chandrasekhar and Nishant Aravindakshan, disciples of Suparna Venkatesh. The duo opened with a short Natesha Kauthwam, which was succeeded by solo representations of the Deekshithar krithi “Akhilandeswari” in Dwijavanthi by Veena, and Mysore Vasudevacharya’s “Rara Rajeeva Lochana” in Mohanam by Nishant respectively, revealing commendable proficiency and clarity of movement. The thillana in Desh raga and khanda thriputa thala, performed together with perfect timing and coordination, was their best item.
Suneetha Manjunath, disciple of Dharani T. Khashap began her Bharatanatya performance with a graceful yet vibrant “Shivashtakam” set to Mohanam raga and khanda chapu thala, complemented by exceptional support from a live orchestra.
The devarnama “Neene Anathabandhu” in Nathanamakriya included sancharis pertaining to Draupadi’s vastrakshepa, Gajendra Moksha, and Ahalya’s redemption, illustrative of good abhinaya skills, while the thillana in Kanada raga and rupaka thala incorporated animated rhythmic sequences.
Ganesh Vandana, a short invocatory item was the first of four items performed by Kathak dancer Sweekruth B.P., now a disciple of Maulik Shah and Ishira Parikh.
Imaginative
While the effervescent pure dance piece, choreographed to the taal Dhamaar and packed with complex rhythms, testified to the artiste’s technical soundness, his interpretation of the Tulsi Das bhajan “Sri Ramachandra” attested to considerable imaginative and communicative abilities. The concluding tarana in Purya Danashri and teen taal was executed elegantly with neat and effortless footwork.
Medha Dixit, disciple of Poornima Ashok, commenced her Bharatanatya presentation with thodayam set to Gambhiranatta raga and adi thala. She delineated Shiva’s cosmic dance beautifully in the Paras raga composition “Aadenamma”, a fairly elaborate item, with firm footwork, steady poses, and an effective exposition of the navarasas interwoven into the theme. “Rara Rajeevalochana” in Mohanam, rendered a second time during the evening, featured a contemplative mood, which was also reflected in the subdued nritta component aligned to the chittaswara.
The last performance of the evening by Priya Raman, disciple of Shubha Dhananjay and Geeta Chandran, started with a demanding ragamalika varnam, performed with impeccable laya control and practiced ease. The javali “Apaduru” in Khamas, which followed, was an apt vehicle for some effective abhinaya.
While some of the artistes need to sharpen and intensify their histrionic faculties, some others need to build up more endurance so that precision and lucidity are not sacrificed in full-length recitals. The programme, on the whole, was a display of admirable talent and commitment combined with rigorous and meticulous tutelage under dedicated teachers.
MADHAVI RAMKUMAR
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
