|     |
|
| |
 Shree Somteerth Sanskrutik Mahotsav of Music and Dance- Vijay Shankere-mail: vijaydance@gmail.com Photos courtesy: Patel Arts Studio November 13, 2025 Patel Cultural Foundation and Shree Somnath Trust organised the Shree Somteerth Sanskrutik Mahotsav, five-day festival of classical music and dance at the temple ground premises of the iconic Somnath Temple in Veraval, Gujarat, from 10th to 14th October. This is for the first time that Patel Cultural Foundation has collaborated with Shree Somnath Trust to organise this national festival that attracts the attention of performers from various parts of the country. More than 30 classical dancers, vocalists and instrumentalists participated in this festival. It was inaugurated by district collector N.V. Upadhyay, Sukant Kumar Senapati, Vice-Chancellor of Somnath Sanskrit University and DSP Jagdip Singh Jadeja. The festival commenced with the pakhawaj percussion music performance by Asharam Sable and his group, Bharatanatyam performance was rendered by Aparna Krishnakumar, disciple of Guru Harikrishna Kalyanasundaram of the famed Rajarajeswari Bharata Natya Kala Mandir from Mumbai. Aparna commenced her performance with a beautiful shlokam on Lord Shiva by sage Thirumoolar in raag Thodi with music by Guru Harikrishna. In this shlokam, the sage reveals his profound vision of Omkara (Aum) - the primordial vibration from which all creation arises from sacred sound of the 'pancha bhootas' - earth, water, fire, air and space. These elemental forces form the foundation of the Universe. Omkara is Shiva, the eternal formless consciousness, the source and essence of all existence, expressed through music that reveals mystic wisdom and divine melody. A Kautvam was presented in praise of Lord Chokkanathar of Madurai portraying the majestic power and the cosmic dance of Lord Nataraja. Aparna was precise in the execution of intricate and stylized movements.  Manasi Saxena Odissi dancer Ananya Mukherjee rendered a pleasing portrayal of Durga Stuti. The evening concluded with a pleasant Kuchipudi performance by Nita Acharya and group from Jamnagar, Gujarat and enthralling Kathak performance by Dr Manasi Saxena from Amritsar. Elegantly attired with a combination of dark and light blue costume, Manasi danced with effortless ease and expertise along with her disciple Swathi, commencing with a powerful depiction of Shree Durge, followed with pure dance sequences in taal Dhamaar and concluded her performance with the complex Tarana in raag Malkauns. Manasi is an accomplished performer and is the disciple of the veteran mentor of Jaipur Gharana, Pt Rajendra Gangani. The second day of the festival commenced with the lyrical Odissi performance by Sarita Panda and Bagmishree, disciples of Guru Gajendra Panda from Bhubaneshwar. Besides the Kalavati Pallavi that exposed the intricate and rhythmic bodily movements, Sarita demonstrated the navarasas in which the attack on Surpanaka when her nose was cut, was wrongly interpreted as "Hasya Rasa". Bagmishree could concentrate on the finer and lyrical aspect of Odissi dancing.  Darshan Shankar Bharatanatyam performance was by Darshan Shankar, who was among the few best performers of the festival. His complete involvement and devotion in the performance was impeccable. After the brief Ananda Nartana Ganapati, Darshan captivated the audience with his mesmerising performance, particularly in the depiction of Hanuman in Hanumanth Devarnama portraying his first encounter with Seeta in Lanka. His typical angika abhinaya pertaining to the character of Hanuman and his excitement in meeting Seeta and her astonishment was well dramatized. Darshan Shankar is a leading dancer from Bangalore and is the disciple of the celebrated duo Nirupama and Rajendra.  Anukula Aditya and Shravika Kuchipudi duet by Dr Anukula Aditya and Shravika from Vishakapatnam (AP), disciples of Guru Bala Kondala Rao, rendered a brilliant performance. They performed Deepam Jyothi, based on the cosmic reactions of earth, air, space, water and fire which are the 'pancha bhutas' essential for life and survival. Deepam Jyothi is Param Brahmam, Jyothi is Fire, Param is Shiva and Shiva is Jyoti Swarupam. One day when both Shiva and Parvati are in a joyful mood, Parvati playfully closes the eyes of Shiva and the entire universe plunges into darkness and everything comes to a standstill but Shiva realises what has happened and he opens his third eye and light is restored, Parvati asks for forgiveness and they dance merrily. With melodious music and stylized movements, it was a pleasure to watch Aditya and Shravika dance to precision. Music was by BVS Balasai, lyrics by Dr Peri Ravi and choreography by Guru AB Bala Kondala Rao.  Disciples of Rekha Nadgauda Kathak by dancers from Keerthi Kala Mandir (Nashik), disciples of Guru Rekha Nadgauda and performed by Aditi Panse and group of seven dancers, created a fine spectacle with their command over technique and wonderful choreography by Ashwini Kalsekar executed with varied positions of stances and movements, that created an impressive visual appeal. After salutations of Shiva-Shakti, they performed the Tandava, "Rudra rudra Shiva Shankara pralaya" followed by "Shoham hare damaru baje" and concluded with the Rudra Taal Tarana. Odissi performance by Guru Pratibha Jena, Raudri Singh, Roshni Unnikrishnan and Nidhi Kindra from New Delhi was quite pleasing. Pertaining to the traditional Odissi style of Guru Surendra Jena who is known for his intensive research on the temple sculptures of Orissa, the style seemed to be quite passive and slow with barely any torso deflections, which was quite evident in the Kalavati Pallavi. The music was too loud.  Dimple Nair and group Elegant Mohiniattam performance by accomplished dancers Dr Dimple Nair (Doha), Sneha Nambiar (Muscat), Unnati Ajmera (Rajkot) and Nayana Prakash (Mumbai) was a sheer pleasure to watch with all the four dancers dancing with fine harmony and uniformity. The piece-de-resistance was the interpretations of the four distinct Nayikas, Vasakasajja, Kalahantarita, Khandita and Abhisarika, caught in different and intense situations of love. The dancers are the disciples of Dr Kanak Rele and Kalamandalam C Gopalakrishnan. Rhythmic and vivacious Kathak performance by Ameera Patankar and Avani Gadre from Pune added colour to the festival. Manipuri Raas Leela by the husband-wife duo from Manipur, Dr Sinam Basu and K Monika Devi and their little daughter who played Krishna was graceful. The Manipuri group also performed Sankirtan and Maha Raas in which Krishna dances merrily with all the Gopis. The disciples of Guru Ragini Chokshi, Pinky Shah and Gunjan Mehrotra presented Bharatanatyam. Ragini Chokshi is an established chartered accountant but pursues her passion for Bharatanatyam and is the disciple of Acharya Parvati Kumar. While the music recording was not that audible, their performance could have been better.  Tina Tambe and Gayatri Tambe  Suman Badami In the brilliant Kathak recital by Dr Tina Tambe and her talented daughter Gayatri Tambe, it was amazing to watch the fine synchronisation between the mother and daughter duo and varied pure dance intricate footwork. The piece-de-resistance of the evening was the interpretation of the number that featured both Radha and Meera. While Meera was enacted by Tina, Radha was enacted by Gayatri. Both are devoted to Lord Krishna, but the treatment and approach are different. Presented with complete involvement, it won applause from the audience.  Suman Badami's group Sparkling Bharatanatyam enchanted by the disciples of Suman Badami, dancers from Natya Vimarsha Centre, Mumbai. The five dancers were Isha Bokey, Padmakshi Srivathsan, Navya Sriram, Ananya Sushil Sawant and Arundhaty Menon. The performance comprised of selected verses from Abhinava Bharati and shlokas in praise of Lord Shiva, performed with dexterity and expressive charm. Odissi and Bharatanatyam jugalbandi was led by Jit Ghosh, Sunandita Chattopadhya, Somomita Chattopadhya, Karuna Ketan Bhakta and Induniwa Dhawa. They appeared together in the Devi Stuti, followed with a Kedar Pallavi by Jit Gosh and Sunandita. Jit Ghosh is among the best Odissi dancers of the country, his stylized and elegant movements incorporating the varied tribangis and the chauk with the typical Odissi elegance was a pleasure to behold. Induniwa and Ketan performed the Kirtana in Poorvi Kalyani "Pradosha Samayadi, Parshiva Tandava, Parvata Nandini" in praise of both Shiva and Parvati. It was interesting to watch the famous Swati Thirunal Dhanasri Thillana being performed in both Odissi and Bharatanatyam style. It was a fine juxtaposition of both dance styles and the dancers were competent too. The soul of the festival is MK Patel of Patel Cultural Foundation. The core persons of the festival are compere Anand Singh, Sanskar Bharati of Gir Somnath, visual arts expert Jignesh Baldevbhai Patel, Dr Jayesh Vaghasia, president of Sankalp Charitable Trust, Sur Sameep Cultural Forum and Ranpriya Sansthan of Veraval, Gujarat.  Vijay Shankar is a Kuchipudi and Kathakali exponent, teacher, bilingual journalist, arts critic and actor. |
