Artistic convergence of identity and styles

It is always a delight to write home about a seasoned dancer who has undisputed talent and whose movements are clean and technically correct. It would be more interesting to witness her exhibi

Published: 21st January 2012 04:56 AM  |   Last Updated: 16th May 2012 06:18 PM   |  A+A-


Maya Dhananjay performing a Bharatnatayam recital

It is always a delight to write home about a seasoned dancer who has undisputed talent and whose movements are clean and technically correct. It would be more interesting to witness her exhibiting her accomplishments in different forms of dance in a particular program. A well versed Bharatanatya dancer Guru Shubha Dhananjay infused a praiseworthy quality to her movements revealing the statement of the dancer. Shubha, a disciple of the late Guru S V Srinivas remembered him on his 92nd birthday at the Seva Sadana, Malleshwara and rendered Guru Namana in a unique manner.

A symmetrical ardhamandali in Bharatanatya, the racy tempo along with vachikaabhinaya of Kuchipudi natya, the tatkaar of Kathak, a neat chauka, fine balance and grace of Odissi and finally the swaying movements of Mohini Attam were authentically and symbolically woven together into the single yarn of those respective five dance forms.

She went into the wings and came out to dance within a few minutes putting on a simple but authentic costumes and ornaments of the respective dance form. It was a good idea to show the slides of Shubha dancing to various shlokas and other compositions enriching and adding dimensions to the theme and keep the viewers engaged and engrossed in dance.  

This beautiful conception under the title of “Narthaki”, was aimed at the depiction of the saga of trails and tribulations, insults, rejections and challenges confronted by an ardent seeker of dance and ultimately her success in the pursuit of dance. In the interpretation and improvisation of  her theme she explored five dance forms (Bharatanatya, Odissi, Kuchipudi natya, Kathak and Mohini Attam), the delineation of  pancha bhootas and the pancha nadais (3-4-5-7 and 9) reinforced by a highly impressive and impactful music support directed by seasoned music director Praveen D Rao  and appropriate lighting

by Sai Venkatesh.

Both rhythm and techniques of her dance were glowing which showed that Shubha has imbibed the feel of movement flowing through her entire being. Her abhinaya had flashes of sensitive moments and inward experience.Impeccable Bharatanatya

The evening program began with an impeccable Bharatanatya recital by Guru Shubha’s daughter disciple Maya Dhananjay. She proved that she is the chip of the old block. Very tastefully costumed she was an epitome of impeccability in line and profile of dance. The cleanly held mandala was a delight to see. Her confidence and conviction got reflected in the rendition of ‘Bhajamanasa Vighnesham’, a salutation to Lord Ganesha. The mischievous pranks of child Krishna and His interaction with His mother Yashoda were artistically depicted by Maya. The importance of Bhakthi (devotion to Lord) was proclaimed on the basis of Basaveshwara vachana ‘Naadapriya Shivanembuvaru’. It was presented like a varna. The interspersing nritta and nrithya beautified her abhinaya.  Rohini’s rendition of a Pushpanjali had nothing special to note.

Promising dancer

The 15-year-old boy Sujith Subramanya in his Bharatanatya recital at the ADA Rangamandira on Friday last was promising. A son of a dancer-teacher S Umesh and well trained by Guru Jaya, Sujith’s enthusiasm and zeal were praiseworthy.

Rightly accompanied by Guru Jaya (nattuvanga), Srivatsa (vocal), Madhusudan (violin), Narasimhamurthy (flute) and Purushottam (mridanga) Sujith saluted Gajamukhane  (Hamsadhwani). The khanda alarippu and a Shabda on Lord Subramanya brought out the nritta and abhinaya talent of Sujith. The explication of a varna ‘Ninne kori namminanura’ set to Athana raga suited his age and temperament. For, it was all about the leelas of Bala Krishna. The swaravachana   (Aadane Rudranaadane, Nagaswaravali and Shanmukhapriya raga) was meaningfully used to portray the Shiva tandava.

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