Dance

Stunning artistry

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Satyanarayana Raju and Soundarya Igoor stole the show at the second day of Shishirachhanda Festival

Among those that performed in the star studded Shishirachhanda festival held by Adhyasa Foundation, under the Artistic Director Sarita Mishra, an Odissi exponent, at Seva Sadan in Bangalore, Bharatanatyam practitioners Sathya Narayan Raju and Soundarya Igoor were the brightest. The power of their pure dance, their strict adherence to tradition, choice of literature, choreography, and the overall aesthetics -- were in total harmony with each other. They took a bow with their duet “Endaro Mahanubhavalu” – one of the Pancharatna Kritis of Saint Thyagraja. The coming together of both the Tanjore and Kalakshetra style could not have been better. Perfect vocabulary of Bharatanatyam; brief elaborations of each stanza to explain the long kriti, were the delight of connoisseurs. The salutation to human souls richly endowed with the great qualities of Sri Rama was in Sri raga and aditaala.

Stunning artistry

Minutes passed by in the twinkling of an eye with Mutthuswamy Dikshitar’s Ardha Nareeshwaram; Marathi Bhavgeeth, and in In Gokula Nirgamana, Radha embraces Krishna’s flute which he has left behind and laments uncontrollably.

Sanjay Shantaram and Shekar Rajendran, Bengaluru performed Ganesh Vandana – a Papanaham Sivancomposition in Tilang raga, translated into Kannada by Sanjay Shantaram. Sandhya Tandavam from the Sapta Tandavam performed by Lord Shiva was their concluding piece. The duo rejoiced in the dance of Shiva in the twilight hours, describing his dance, in which Brahma was the Nattuvanar, Vishnu the mridangist, while the Gandharvas gave vocal support. With him danced the snakes, goddess Ganga in his matted locks , exhibiting different charis and karanas. Dramatic elements were used in crushing the six evil emotions - Kaama, Krodha, Moha, Lobha, Madha and Matsara, by Shiva by stepping on the demon and destroying Adharma and raising dharma . The composition was in Ragamalike and Adi Talam. The duo danced with great verve and energy . A multi-talented artist, Sanjay Shantaram has won many an award in Kuchipudi. However, his style of Kuchipudi is his very own, not without a touch of filmy glamour.

Stunning artistry

A disciple of Pt. Durga Lal of Jaipur gharana Kathak, Uma Dogra has walked the not so oft trodden paths in her chosen profession, winning accolades one after the other. She has indeed extended the barriers of Kathak by presenting an ashtapadi from Jayadeva’s Geeta Govinda, “Sakhi hey Keshi Madana mutharam”, where the love smitten Radha tells her Sakhi to bring the slayer of demon Kesi to her. The intense moments of her desire to relive those moments again were captured beautifully. Beautiful is the union of Purusha and Prakriti, was her message. Music by Vinayak Netke, vocalised by Manoj Desai was an aesthetic experience. Her next piece was also an abhinaya piece from the epic Ramayana, where as Manthara she was excellent. Kaikayee Samvaad, choreographed by Uma Dogra, scripted with dialogues written by Chitraarth Singh and from Tulsidas’s Ramcharitmanas, with vocal support and music direction by Alaap Desai was watched by the audience with rapt attention. With her disciple Sarita Kalale, Uma wove magic on the stage, showcasing the technique of Kathak in raag Megh and a 16-beat tala system. Guru and disciple together was a formidable combination, with ever changing patterns and innumerable pirouettes.

Stunning artistry

The character of Sabari, the ardent devotee of Sri Rama who traversed the entire gamut of her life, waiting eagerly for her Parampurush for a darshan, had been realistically portrayed by Guru Ratikant Mohapatra. He seemed to be stepping into the shoes of his sire with dedication and perseverance which apparently is no less than Sabari, whose long wait bore fruits. Sabari the tribal woman, who was in search of knowledge and to whom nothing else mattered was brought home in his performance. Guru Ratikant Mohapatra’s theatre background brought luminosity in his characterisation of Sabari.

Rendition of “Kandanal Mudalai” was interpreted interestingly by three women – two nayikas and one, a sakhi - all in love with Muruga. A whole range of emotions came to play in the rendition. A great deal of put on simplicity, romantic thoughts and sharing of confidences aroused humour. Sada Chaleswaram was a Dikshitar composition, where the musical structure merged seamlessly with the rhythmic signatures.

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Printable version | Jan 21, 2020 4:38:03 AM | https://www.thehindu.com/entertainment/dance/stunning-artistry/article30400990.ece

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