Young `n' promising

PERFECT POISE The students put up a commendable performance.  


Ramamoorthy and Manjula Ramaswamy's students put their best foot forward.

Strict adherence to pure dance, and its technique and tradition would be a welcome sign.

Grand ol' Secunderabad is 200 years young and a brilliantly choreographed Bharatanatyam recital was organised as part of the birthday revelry. It is indeed an overwhelming moment for the guru when his shishyas ascend the stage to perform. Accredited with various accomplishments, the academy has been rendering relentless service in popularising the divine art of Bharatanatyam. Guru V. S. Ramamurthy's Srirama Nataka Niketan is a veritable Bharatanatyam dance academy that has trained numerous artistes over the past 30 years. The recital at Harihara Kala Bhavan was an effort to showcase the young talent taking up pure dance. The father-daughter dance duo, V. S. Ramamurthy and Manjula Ramaswamy, were onstage to present a graceful and rhythmically contoured choreography of Bharatanatyam that their students doled out with the presentation of Swara Pallavi in Raag Vasanth and Taal, Rupak. The rigorously trained talent under the systematic training of Manjula Ramaswamy took centre stage to depict a carefully, aesthetically coordinated item that was marked by understanding, ease and etiquette. The item had sequences to incorporate rhythmical quality.

Aesthetic presentation

The next item was the highlight of the recital and was a piece of Kaaliya Mardhanam in Raag Maalika, Taal, Aadi. The performance brought to life the pranks of Krishna on stage with dancers holding lit candles and executing delicate movements. This truly was a feast for the senses as the youngsters manoeuvred cross-floor footwork with absolute grace and serenity. Especially, the slow full circle dance movements on the inverted pots with lit candles in hands and metal vessels on heads was an overwhelming display of delicate balancing act. Sri Krishna is a manifestation of joy in all walks of life. The divine pranks of Krishna were fitted to aesthetic music composition with intelligence. The whole cast performed well on the inverted mud pots and there were no wobbles or nervousness. Subduing of the Kaaliya, the seven-headed cobra was symbolically presented using these pots. This enactment received tremendous response from the audiences and the increased virtuosity was evident as there was total trust onstage while enacting the sequence.

Class act

The dancers neatly presented Sri Krishna playing as a child and enjoying his earthly pastimes and surprising one and all with his mystic powers in the transcendental land of Vrindavana. Perhaps the production was lokadhaami, enjoyable and communicative in approach without deviating from the classicism to cater to a broader segment of audiences. The outburst of creative energy in the dance sequences suggested naughty innocence and uncurbed enthusiasm by the young dancers that depicted Bala Gopala along with his cowherd friends. Those scenes that had these milkmaids churning butter, and Krishna using his pranks was a delightful cocktail of gestural expressions. Strict adherence to pure dance, and its technique and tradition would be a welcome sign.Manjula Ramaswamy and V. S. Ramamurthy have been teaching Bharatanatyam at their academy and more than 400 artistes from Hyderabad and Andhra Pradesh trained at this academy and had their Rangapravesam. Manjula received her initial training in Bharathanatyam under Late K. N. Dandayudhanipani Pillai, and later under her father.