|     |
|
| |
 A festival as a tribute to one's Guru - Dr.Padmaja Suresh e-mail: padmajasuresh@hotmail.com Photos: V.B. Suresh April 18, 2023 A tribute to a legend was put up by the Sanjali Dance Company (established in 2004) called Pravaha - A dance festival, to encourage promising talents on the 7th of April. An initiative by Sharmila Mukerjee, the sishya of Guru Kelucharan Mohapatra, herself a seasoned artiste, this event was well attended and applauded, at Seva Sadan, Bangalore. People in this garden city are a lot enthusiastic about dance and music and despite a reputation for the worst traffic logjams, artists here manage to get discerning spectators quite often.  Sanjali Dance Company The Odissi performances opened with Mangalacharan Namami, an invocatory number that pays homage to Lord Jagannath of Puri and mother Goddess, Bhumidevi. Choreographed by Guru Kelucharan Mohapatra, it ended with Trikhandi Pranam, a gesture of respect towards the house. The students of Sanjali Dance Company made their teacher proud with a vivacious presence. This was followed by the Charukeshi Pallavi, a nritta piece that starts with graceful movements, typical of the style to gradually build up in laya, resplendent with intricate footwork. Odissi poses such as Chuaka and Tribhangi were used as the Alankaras or decorative elements. Choreographed by Sharmila Mukerjee, it emerged as an interpretation in varying rhythmic combinations of taal. The arduous training was evident among the dancers. The Ganga Stotram followed as a benediction to the divine river Ganga, depicting her facets as she trickles down Mahadev and offers her cleansing powers all around. It was set to the morning raag, Bhairavi which sets the mood for a powerfully awesome as well as peacefully feminine composition. The ritualistic ablutions became picturesque sculptures before our eyes. The recital concluded with Moksha, which seemed rather 'clipped', perhaps due to paucity of time. The graceful Kaishiki Vritti would usually ascend to a crescendo and merge finally into a pure meditative state. The dancers were Janvii, Shryanshi, Anika, Eshaani, Meera, Raima, Debanjan, Nandita, Sanjaly, Sritama, Dinesh, Anuradha, Suranjana, Anushree, Srijita, Surajit and Preeti.  Aparna Vinod Menon Aparna Vinod Menon, a disciple of Guru Bhanumati and Sheela Chandrashekar, started her Bharatanatyam recital with a popular Daru Varnam, Mathe malayadhvaja in ragam Kamas. Bhagavati slaying the demons was effectively portrayed in the second sahityam, whereas her munificent grace in the first sahityam as the eternal mother of not only Ganesha and Kartikeya but also of the entire universe, seemed surprisingly missing, This could have, with the help of sanchari bhavas, added strength to the predominant sthayi of motherhood, that glows with green hues as per the poet Muthiah Bhagavatar. Aparna, who has developed a sprightly and neat nritta, performed crisp and traditional jatis. She enacted the verses with succinct expressions. The heart-rendering Radha, who was a vasakasajja nayika in the ashtapadi Pashyati dishi dishi was captured smoothly. One awaits traces of impassioned panache that would edify the overall presentation as Aparna blossoms further in her career.  Rohini Prabhat & Shreya Vathsa Kathak duet by Rohini Prabhat and Shreya Vathsa, students of Nirupama and T.D. Rajendra consisted of the hymn on the Panchakshara by Jagadguru Adi Shankaracharya. The dancers introduced the spectators to a highly vigorous and innovative style, a hallmark of this school. The performance included the traditional format of Parampara, showcasing the skill in pure technique of Tukda, Tihai, and Tatkar. There was a sudden break from the routine with a totally novel tune to the saint poet Purandaradasa Kriti, Taraleranna kappu maiyava, that compares the deities Shiva and Vishnu, and culminates with establishing in a subtle manner, the Advaitic concept of the ONE Brahman. There was a generous use of lokadharmi abhinaya, with a whiff of humor in the portrayal, interspersed with nrtta karanas. Both the dancers ended with a Tarana that contained sparkling nritta. All the three performances, summed up to garnish the supreme joy of dance. To the youngsters especially, this became a great opportunity that would elevate them with a degree of mature restraint, as they embark into their future. The teams gave a befitting and effervescent tribute on behalf of Sanjali Dance Company, to one of the greatest performers and teachers par excellence, Kelubabu as he was fondly called by everyone.  Dr. Padmaja Suresh is an accomplished dancer and research scholar and heads Aatmalaya Academy, Bangalore. |
