Choreography and Abhinaya Highlights of Dance Fest

Rasa Sanje, on at ADA Rangamandira till Sunday, featured artistes from across varied Indian classical dance genres

Published: 28th December 2015 06:14 AM  |   Last Updated: 28th December 2015 06:14 AM   |  A+A-

BENGALURU: Rasa Sanje, an ongoing dance fetival, opened with a  couple of spell-binding performances. It commenced with Geeta Govinda by an ensemble choreographed by Guru Radha Sidhar, characterised by neat choreography.

Alternting movements by artistes embodying Krishna the gopikas added to the repertoire’s aesthetic appeal. Aishwarya Nityananda’s abhinaya as Radha lent the character finesse. Her metamorphosis from vasakasajjika to khandita (a woman eagerly awaiting her lover’s return to one who rebukes him) in Yahi Madhava by Aishwarya was restrained. Kuru Yadu Nandana, with a beautiful nritta segment (rhythemic sequences), reminiscent of Kathakali  performances, complemented the Bharatanatyam piece.

Choreography.jpgThe group Bharatanjali, led by the Dhananjayans, began its recital with a Deepanjali – a piece saluting the audience, or in this case the country, with lamps – propitiating Mother India in Raag Desh, set to adi taal. Alternating nritta segments between the male and female dancers during Vande Mataram enlivened the performance. But Sree Rama Pattabhishekam, with Manthara poisoning Kaikeyi’s mind, compelling her to solicit the two boons from Dasaratha, was the highlight of the show. Shanta Dhananjayan’s entry as the hunched Manthara with a jati to Gopu Kiran’s nattuvangam gave the piece a dramatic start. One must laud Shantaji’s effortless characterisation, focussing on Kaikeyi’s psychological turmoil to make her son, Bharata, the king and get Rama exiled. Divya  brought Kaikeyi to life. Restrained abhinaya called for premeditated practice.

Dhananjayan’s skilled abhinaya, first searching for Kaikeyi then shocked by the two boons she seeks, to the accompaniment of Rajesh’s soulful vocal rendition held the audience rapt. The concluding kadanakuthuhalam tillana, choreographed by the stalwarts, had great visual appeal – geometrical formations, taut teermanams, clear nritta segments with Anusha’s eye-catching dance.

Dhananjayans, began their recital with a Deepanjali — a piece saluting the audience, or in this case the country, with lamps — propitiating Mother India in Raag Desh, set to adi taal

performances at ADA Rangamandira

Saturday Vaidehi – a thematic Bharatanatyam presentation by Anuradha Venkatraman Pulakeshi Kasturi’s Shankara – a solo thematic presentation Sneha Narayan’s BharatanatyamSunday

Bharatanatyam by Rajarathnalaya Foundation, led by Jayakamala Pandian, Padma Shri recepient Vazhuvoor Ramaiah Pillai’s granddaughter Matangi N Prasan’s Bharatnatyam, Sammilan – a confluence of Kuchipudi and Kathak – by Surya Rao and Prathama Prasad and Kuchipudi solo by Gururaju

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