Sai Nruthyotsava 30

November 7, 2011

To put up annual shows, an organizer of dance concerts has several blocks and hurdles that have to be surmounted and crossed to make the show a reality. These exercises need to be done year after year.  In Bangalore, an organization has now successfully conducted its 30th monthly dance festival, that has showcased until now more than 500 dancers in 150 segments and artistes coming from not just Bangalore but from beyond the state and country borders. Sai Arts International has achieved all these in its every 1st of the month Sai Nruthyotsava. And on 1st of November 2011, at Seva Sadan was its 30th presentation. The attendance by the kala rasikas on a weekday that left no seat unoccupied, attests to the popularity of the festival in the metro.

Shama Krishna, who runs her dance institution under the name of Shraddha, presented her disciples Annapoorna, Kavita, Sushmita, Sangeeta, Megha, Sheeba, Deepti, Chaya and Anuhita in a seamless rendition of Dwaraki Krishnaswamy’s composition “Shivanavarasa” that was set to Raga and Talamalika, in Bharatanatyam style.

Shama Krishna’s disciples

Kruthika B Jayakumar
Though Shiva is eternal and unborn, his consort Shakti takes birth several times and in every birth she aspires for Shiva to be her husband. The composition delineates how each time Shiva approaches Parvathy and wins her over. The narrative skillfully strings the legends of Shiva through navarasa, the nine sentiments or emotions. The episode of Parvathy engaged in a sword fight with Shiva himself, ultimately becoming his bride is seen through shringara rasa, subduing the pride of Arjuna is his veera rasa. Shiva accepting offerings from the little girl Kodagusu was his karuna rasa. Tripura dahana is seen as adhbhuta rasa. Shiva appearing as an old man before Parvathy to dissuade her, as hasya rasa. Bhasmasura attacking Shiva is the bhayanaka rasa, Daksha Yagna dhwamsa was bhibatsa and Manmatha dahana is his roudra rasa. Shiva as maha yogi is at peace with himself thus being the shantha rasa.

Kruthika B Jayakumar disciple of Mithun Shyam, presented a Pushpanjali in Shreeranjani-adhi, and offered her pranams to Ganesha followed by two Haridasa krithis “Kande Karunauna Nidhiya”   (Hamsanandhi-adhi) of Purandara Dasa and “Baaro Krishnaiyya” (Ragamaalika-adhi) of Kanaka Dasa. While one depicted deeds of Shiva, the other delineated the pranks of child Krishna. She concluded with a brisk composition on Devi through the popular Punnagavaraali – adhi set to “Aygiri Nandini.” 
Shibani A, disciple of Poornima Ashok, presented a varnam “Sri Krishna Kamalanatho” in raga Rithigaula-adi.  The story of Krishna from birth to geethopadesha was the main theme of the Bharatanatyam composition. Karthika Menon, disciple of Hemalatha Rakish, performed her opening number, an Ode to Lord Ganesha. She concluded with her second number, a Varnam “Sri Krishna Kamalanatho” in raga Rithigaula, tala adi. Though there was a repeated repertoire for the day, the difference here was performance supported by an ensemble of musicians while all others chose to perform for recorded music. Did this make any difference? Yes, of course it certainly did, in a very positive way.

Shibani A

Karthika Menon
Produced by Articulate, Bangalore, and presented by Sai Arts International, a dance feature was the concluding segment of the day.  Salabanjika, a dance feature based on ‘Anthapura Geethegalu’ was a combination of music, visual, performance and plastic arts, all in right proportion, the stagecraft befitting, the costumes and jewelry enhancing, choreography aptly translating the famous literary work of DV Gundappa and the friezes of Hoysala architecture. The four selected Salabanjikas (nymphs) standing under the Sala tree seem to send subtle message of love to their beloved Chennakeshava through four different classical dance grammar of India - Kuchipudi, Odissi, Mohiniattam and Kathak strung by Bharatanatyam.  Inspired by the sculptures and associated literature, with artistic license that is bestowed on artistes, 19th century words of the poet are voiced by the 11th century Hoysala Queen Shantala.  Under artistic direction by Mysore B Nagaraj, choreography by Dr Suparna Venkatesh and tuned by Praveen D Rao, the following artists performed: Pawan Kumar as Lord Chennakeshava, Suparna Venkatesh as Queen Shantala, Archana Punyesh as Shuka Bhashini, Shweta Krishna as Mukura Mugdhe, Kavyashree Nagaraj as Muraja Modhe, Shweta Venkatesh as Muralidhare and as other salabanjikas were Pushya, Sindhu, Nisha, Samhita, Ashita, Bhavana, Deepti and Vidisha.