Natyanjali, an evening of Bharatanatyam, showcased young talent at Kalabharati Visakhapatnam. With good grasp of the nitty-gritty of the dance idiom, the promising artistes essayed well to bring out the inherent rasa bhava of the compositions taken up for presentation. The scope for expressional nuances in diverse numbers was well explored bringing out its emotive content in an endearing manner. Both in pure dance numbers and in abhinaya oriented ones, the artistes were at ease and did their best.
Maye Mayan Sodariye a varnam of Madurai N Krishnan in Todi set to the cycle of Adi talam, was about the tale of Lord Krishna’s birth. The brutal acts of demon Kamsa, who kills the newborns of his sister Devaki in a bid to ward off the death presumably at the hands of her off springs and ultimately Maya heckling Kamsa of his ignorance and warns of his inevitable end at the hands of Lord Krishna were presented in an appealing manner. Natesa koutwam showed the vibrant grace and grandeur of Lord Siva’s cosmic dance. It was full of vigorous movements. The skill and artistic ability of the dancer came to for in its entire brilliance for the piece Davaranama of Purandar das. The way ten cosmic incarnations of Lord Vishnu depicted was remarkable for precision of movement and expression. Another piece dealing with chosen episodes from the epic Ramayana was quite charming. Sitaswayavaram and Sabari moksham stood well delineated. Lord Rama’s triumphant breaking the bow of Lord Siva, beauteous gait of blushing princess Sita and the Lord Rama winning her hand formed a part of the theme and another was Bhaktha Sabari, who, on seeing the Lord, in her self-forgetful mood of devotional ecstasy offers tasted fruits in a bid to avoid the unripe or rotten ones.
K. Madhavi, Ayushi Patro, Amrita Dimri, K. Dedeepya and Bitan Sarkar took part. Guru K. Venkat provided nattuvangam, while D. Durgarao lent vocal support, Talada Chaitanya on mridangam, A.S.R. Koundinya on morisng, A. Satyavishal on violin and Rajarao on flute were commendable.
