Dance The dance festival in Vishakapatnam showcased diverse strands of dance from the Indian tapestry. Velcheti Subrahmanyam
In the three-day third edition of Bharath Nrithyotsav of Nataraj Music and Dance Academy (NMDA) foreign nationals, NRIs and local artistes performed different dance forms at Kalabharati in Visakhapatnam. Featuring as many as four slots in a session, the dance festival showcased diverse strands of the tapestry of Indian classical dance. Understandably the artistes were given about a 25-minute-slot each. However, thisbrief slot got parcelled out in between the other ones and their otherwise good performances failed to register their indelible mark. It was designed such that even before the audience warmed up to gauge the imaginative proficiency of one artiste, one had to yield place to other forms for their turn to present another number. Such slots affected its emotional appeal, making the otherwise ambitious event appear motley.
Notwithstanding such glitches, the artistes showcased their best, reflecting their unswerving commitment to the chosen form of dance. Sai Gargi from Nigeria opened the session with lively Kuchipudi performance. Added to the inherent endowment of lissom grace in movement, her flair for expression ensured an admirable presentation bringing out the quintessential spark of Kuchipudi in Satyabhama’s prevesa daruvu from Bhamakalapam.
In Kuchipudi segment, US-based Sneha Naroju danced an invocatory in praise of Lord Ganesh and then Vachhenu Alamelu Manga of Annamayya with panache. Local talent P Sai Jyothi’s presentation of Maheswari Mahakali captured the ferocious facet of Goddess Mahakali in her fierce battle with the demon Raktha Bija reflecting her grip over the idiom of Kuchipudi. Also, other local talents Aruna Paramesh and Laalith Kumar Gupta danced a couple of numbers each.
In the Odissi part, Maria from Peru, first ever Peruvian to perform Indian classical dance, in tandem with Elena and Taissia from Russia danced Mangalacharan and Pallavi in an awesome manner. With perfect hold on the complex grammar of Odissi, the trio showcased their virtuosity in abundant measure. Taissia’s solo performance in another slot for ‘ Hari riha mughdha ’, an Ashtapadi of Jayadev, delineated the ecstatic mood of Gopikas in celebration of the arrival Lord Krishna in wide range of sanchari bhavas. The way she vivified the entire scenario of village in pervasive joy attested her in-depth grasp of the emotional contours of the theme.
In the Manipuri section, Samina Hussain Prema from Bangladesh lent an alluring expression to Shuka-Sari dwandwam , a duet of a parrot pair, which dealt with romantic tussles between the young couple. And US-based Sohini Ray performed a devotional number ‘ Bhakthirasgi Maangal Khonjel ’ with élan. While Anne Dietrich from Germany displayed remarkable talent portraying the pangs of estrangement of Radha pining for Lord Krishna in an Ashtapadi of Jayadev in the gracious style of Mohiniattam, in Kathak category Vidhya Sharma from Indonesia, UK-based Anurakha Gosh and in Bharatanatyam US-based Swathi wowed the viewers.
Added to the inherent endowment of lissom grace in movement, her flair for expression ensured an admirable presentation