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 Sai Nrithyotsava 31 December 14, 2011 The every month dance festival, the only one of its kind in Bangalore providing platforms for gurus to showcase their accomplished shishyas, giving opportunities for new stars on the dance horizon to share space with established dancers, for the creative dancer a canvas to express choreography skills, held its series 31 on 1st December at Seva Sadan Auditorium, Bangalore. V Anuradha Singh trained in Raigarh Gharana of Kathak by Pt. Kartikram and Pt. Ramlal, with Master’s degree in Kathak with merit (Gold-medal) from Bhopal, Madhya Pradesh, sped through a 6 segment repertoire ranging from Stuti to Sufiana. She opened her recital with an obeisance to Mata Saraswathi and proceeded to exhibit her mastery over nritta in the teen taal based toda, tukda and parans. She chose to perform tatkars as a separate item before she presented her Tarana in Raag Hamsadhwani set to teen taal. A thumri “Mohe chedo na, nand ke suno” in raga Kalavathi was performed before she concluded with a Amir Khusrou quawwali “Chaap Tilak.”
Tejaswini B Puttur, disciple of Deepak Kumar of Puttur, performed Bharatanatyam and her first number was a Pushpanjali in Hamsadhwani - mishra chapu based composition. A Gambheera Nata raga-adi tala set Ganesha Stuti followed. While a Padam depicting the Khandita Nayika through the composition “Indendu Vacchitivira” in Suruti Raga - mishra chapu tala, was her finishing piece, she presented a descriptive performance of Shiva’s tandava in Purvikalyani raga set to adi tala. Twelve disciples of Mysore B Nagaraj gave a three part Kathak recital, the first being Vandana, where the traditional hymns offering pranams to Guru was adapted and Krishna was glorified through Adi Shankaracharya’s Krishnashtakam “Bhaje Brijaika Nandanam.” This was followed by Sri Goswami Tulasidas’s “Sri Ramachandra Krupalu” bhajan and the dancers concluded with ‘Paadakriya’ to the lehra of Maheshwara sutra bringing aloud an audio imagery of the different gati, jaati and yati compositions of the complex Indian tala system. The dancers were Pavan Kumar, Nishant Aravindakshan, Nidhag Karunad, Karthik Shetty, Shweta Venkatesh, Kavyashree Nagaraj, Shamika, Anusha, Srividhya, Aishwarya, Kavita and Mallika.
Soundarya Srivatsa’s disciple Apoorva K Keshav gave a Bharatanatyam recital opening with a GN Balasubramanyam composition, a Hamsadhwani - adi talam based Ganesha shtuthi. The student’s commitment to the art form and the guru’s interest in the growth of her shishya was evident. It was in the Tanjavur Shankara Iyer’s description and glorification of Shiva with Natesha Kouthvam she showed her control over the medium technically and emotively. This was in raga Revathi set to adi tala. Unnath H R, shishya of Ambale Rajeshwari, performed a Pushpanjali, Sri Raama Thodeyam and Sri Shakthi Padam. While the floral tribute to the stage was in Raga Valchi - adi tala, the Purandaradasa composition extolling Rama, was a Ragamalika composition and the Shakthi padam was in Gowli, adi tala. Unnath commanded the approval of the audience in his opening act, through his anga shuddi. While Rama was depicted through sukumara tandava, it was the combination of grace and virility he exhibited in the concluding number eulogizing the powers of Shakthi. |
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