Dancers with promise
Two young dancers, Reshma and Deepa Kartha, enthralled the audience.
Reshma's graceful performance was a crowd puller.
THE THIRD and fourth days of the festival at Ernakulam Shiva temple saw the performances of two budding danseuses, Reshma and Deepa Kartha. Both took up the challenge of performing in the kutcheri format to a mixed crowd who unflinchingly sat on the grounds and enjoyed the recitals.
Reshma's first item was `Natyanjali,' which offered obeisance to different gods and goddesses. She moved on to the grand varnam in Todi, `Roopamu joochi.' Reshma gave a nearly flawless performance but for a few slips in the `chitaswaram.' The grace is not to be missed. The open stage with huge space could pose a challenge for any dancer. Hence, the dancer could have more effectively used the horizontal stage space. Even the recorded version of `Krishna nee begane' was not free from rhythmic discrepancies in the first `charanam.'
`Anandanadamidum padam,' a composition of Papanasam Sivan in Kedaragowla raga, describes the cosmic dance of Nataraja in the golden dome of Chidambaram. Reshma danced in rapturous abandon shedding every trace of inhibition. The tillana in Kamas on Lord Venkatesa was a crowd puller.
Deepa Kartha, who performed the next day, is another dancer to reckon with. Trained under Kalakshetra Usha, her craft is perfect in tradition and finesse. `Gajavadana' in Sreeranjani raga salutes lord Ganesha, who is the essence of Sivaagama chants. `Neerathasamaneela Krishna' is a genuflection and an endearing passionate call to the lord.
`Neerathasamaneela Krishna' is a genuflection and an endearing passionate call to the lord. The typical Kalakshetra varnam in Nattakurinji `Chalamela' unfailingly evoked the fervour of bhakti for Lord Ranganatha. The episodes of `Gajendra moksham' and the insult of Draupadi were alluded to.
The brio of `teermanams' had the right impact on the audience and Deepa was in for more. The unhurried leisurely approach of her dance makes her performance stand apart.
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