In memory of Sanjukta Panigrahi

Myriad dance forms were showcased by young male dancers, at the Sanjukta Panigrahi Yuva Mahotsav

“Today it has become the need to motivate youngsters in the field of performing arts. Unless they get an appreciative stage, how will they pursue classical art?” questions Jhelum Paranjape of Smitalay, Odissi exponent and guru. As an answer, she organises Sanjukta Panigrahi Yuva Mahotsav, coinciding with Panigrahi’s birth anniversary, to promote young dancers of all classical genres.

Hosted at the P.L. Deshpande Sabagruh, Ravindra Natya Mandir, Prabhadevi, the festival featured young male artistes from various dance genres.

“Smitalay, the dance wing of Sane Guruji Arigya Mandir was started 28 years ago in memory of my dear friend actress Smita Patil,” informed Paranjape. After a brief address by the chief guest Palande, the event opened with singing by Jateen Sahu and Rohan.

Soumya Bhowmick presented Gaudiya Nritya, a rare ancient dance form of Bengal. Saraswati vandana addressed the goddess with expressive movements. Dancing on an upturned decorated earthen pot with balanced precision, Bhowmick elicited huge applause for his craft. A plate of flowers and incense stick created a divine ambience. Durga mangala charan from Devi Mahatmayim reiterated his rhythmic refinement. The shastaang namaskar to the sounds of ‘Om’ attested his body control.

Darshan Abhivadye , Bharatanatyam dancer, disciple of Prof. C.V. Chandrasekhar and Srinivasa Rajendra presented ‘Devi neeye thunai,’ in Kiravani, Adi, on the warrior princess Meenakshi and followed it up with Sivapanchakshara stuti.

Supported by excellent recorded music and endowed with an impressive stage presence and neat movements, the dancer could have added effect by using the entire stage space, rather than move within a restricted zone.

Suraj Kumar Sahu , disciple of Durga Charan Ranbir, limited his Odissi segment to a concise sthayi, fast-paced pure dance. Nursing swollen toes in his left foot, camouflaged in skin coloured plaster, Sahu did not compromise on the energy, which the piece demanded.

“Being a young male dancer, I believe in highlighting stamina and stances inspired by the sculptures in temples,” says Sahu.

Kuchipudi dancer Rama Koundinya split his allotted time into two slots. In the first in Stree vesham, he transformed to Devadevi in ‘Vedalera Vayyarulu’ in Kedaragowla. Decking up in detail, lithe body language resembling a peacock, deer and a creeper in graceful gait, the seduction of Vipranarayana by Devadevi was graphic. Rama’s chic and charm matched every word in the elegant lyrics.

In the second segment, Rama was completely transformed to an agile male dancer and brought out the pranks of Krishna escalating to the mesmeriswing Vishwaroopam. Annamacharya’s ‘Vinaro bhagyamu’ intercepted with brisk jatis proved the dancer’s versatility.

Mujaffar Mulla , disciple of Jaffar Mulla and Rajendra Gangani of Benaras gharana enticed the viewers with Madhurashtakam, Krishnaleela (in Yemen, Rupaka taal), stealing of butter, gopis bathing, holding up the Govardhan, Kalinga, Holi, Swinging etc. were well-detailed.

Taal dhamar, 14-beat time cycle and a sargam completed his segment.

Jugalbandi of Sravan Ullal in Bharatanatyam and Kiran Ullal in Yakshagana was a scintillating climax to this all male youth festival. Clad in fabulous and flamboyant attire, making unearthly sounds, Kiran was Kamsa, dominating and demonic and as Puthana, fearing her own image, realising her adopted role and trying to look feminine with a few trappings. The birth of Krishna and slaying of Kamsa were brought out by Sravan with quick change in costumes and adding accessories for visual impact.

The anchor could have edited the lengthy narration and rehearsed it for better communication.