Dance Rajashree Das and Bijina presented Bharatanatyam and Mohiniyattam genres.

ICCR’s empanelled Bharatanatyam artiste Rajashree Das, and non-empanelled Mohiniyattam artiste Bijina sponsored by Sai Nataraja Academy of Kuchipudi Dance presented their dance at Thyagaraya Gana Sabha. The programme was tiled as ‘Nritya Sandhya’.

Rajashree Das is the disciple of Rateesh from Bhilai. Her major number was Tamil varnam- Sakhiye Indajalam Yenadi in Sankarabharanam, Aditalam. Almost each of the charanams were preceded by well designed jatis with graceful movements. Riteesh’s choreography was well chiselled and Rajashree displayed good command and sense for abhinaya while interpreting the thematic element in the lines of varnam. This was followed by a composition written by Ghatam Kartik on goddess Parvati, in Charukesi ragam, adi talam. It ended with famous Ayigirinadini dance. The final number was Siva Panchakshari Stotram in ragamalika and talamalika, written by Adi Sankara. Rajashree The second part of the programme was Mohini Attam presented by Bijina, a student of Kerala Kalamandalam, but not yet empanelled in ICCR. She did a eight years course in Kalamandalam with Mohiniyattam and Kuchipudi as her subjects. She came to the city to do a post-graduation course in Kuchipudi in the Central University of Hyderabad.

Bijina opened with Vinayaka Sthuti and went for ‘Chollukattu’ dance for verbal rhythm in ragamalika and talamalika. She took more than ten minutes exhibiting in detail the nritta aspect of the dance endingwith dance for sahitya. Then she took up the most popular lullaby of Swati Tirunal – Omana Tingal kidavo ., which is said to be famous in Kerala as Annamacharya’s Jo Achyutananda in Telugu. This is set in Punnagavarali misra chapu talam. The dancer mimics carrying baby on her shoulders, placing in the cradle or even playing, when the song is sung. Bijina presented this so well that she involved the audience at one stage by requesting them not to clap as her child might get up. And then she simply exited the stage holding a child on shoulders, thus adding some amusement to the show, receiving great applause.

This was followed by Dhanasri tillana of Swati Tirunal, a brisk number that the artiste executed brilliantly providing rhythmic thrills sticking to the purity of Kalamandalam style. The costume in itself was an added attraction, enhancing the artiste’s charming looks.