With an abundance of seasoned and unique talents and expertise strongly rooted in a rich and unparalleled heritage of dance and with several predictably high standard add-on performances of young and promising dancers, the Bengaluru City has won the international recognition on par with Chennai as an abode of Bharatanatya.
The City has been well known as much for IT-BT as for Bharatanatya. Every new entry into its field has been noteworthy.
Petite, lean and ever ebullient little girl Aradhana S Alok made the right bow on Saturday at the Brigade Convention Hall, Whitefield A disciple of Guru Kanya Ramachandran Tahaliya she proved that she is a chip of the old block. For, her mother Sharmila Guptha, a soft ware engineer by profession is also an accomplished Bharatanatya dancer trained under the noted Guru Padmini Ramachandran of Natyapriya. Guru Kanya is the daughter-disciple of Guru Padmini. Not only biologically but also artistically Aradhana almost resembled her mother.
It was but natural that Aradhana danced with a lissome willowy grace and a flowing ease in movements. Technically very well equipped and full of grace and agility Aradhana had strong foundation for future growth. She began with a Sanskrit hymn (Bhadram karane) followed by Todayam (Gambheera Nata) and Ganesha vandane (Sri Vighnarajam bhaje). The trishra, chaturashra, khanda and mishra alarippu was zestfully rendered. At this stage her waist ornament and ear-adornment got disengaged. But lo! She was never disturbed by this. Exuding lot of self confidence she went on undaunted sustaining the tempo of the dance and rounded off the number with a well etched nritta.
Beautifully backed up by Guru Kanya (nattuvanga), Ramesh Chadaga (vocal), Natarajamurthy (violin), Narasimhamurthy (flute), Janardhanarao (mridanga) and Prasannakumar (rhythm pads) she delineated the Kalyani varna (Aadum daivam aruzhva) with aplomb. The theme of Lord Shiva and Parvathi was appropriately enriched with some intricate karanas and intense grace. The charana portion (Omkaara pranava) was rendered in a lively pace. The nritta, nrithya and abhinaya brought out an excellent dancer in Aradhana.
Purandaradasa’s Ellaadi bandyo Rangayya explaining the pranks of little Radha and Krishna suited well the artistry of the young dancer. The beauty and greatness of Goddess Saraswathi was neatly sketched by her. Grandness of Sri Rama, the illustrious love and affection of Bharatha for Him got a vibrant portrayal on the basis of Tulasidas’ familiar Srirama kripalu bhajan. Vatsalya and karuna rasas had a natural exposition. The Kadanakutoohala tillana was the befitting finale.
Unique Oonchavrithi: The nine day 47th Nadajyothi Sangeetotsva under the aegis of Nadajyothi Sri Thyagarajaswamy bhajana Sabha at Sri Kannika Parameshwari temple, Malleswaram began with Bombay Sisters’ duet. A souvenir Nadajyothi 2012 was released on the occasion. As per the custom, the Ooncha vrithi was performed on Sunday morning by going round the temple singing songs and chanting bhajans carrying the photos of Sri Rama and Vaggeyakaras. The traditional poojas were followed by the group singing of Pancharathna krithis of Thyagaraja, select krithis of different Vaggeyakaras and the Navarthnamalika.
Enticing Mohini Nrithyotsava: Monisha Arts led by a veteran and versatile exponent of Mohini Attam and excellednt choreographed Guru Sridevi Unni hosted a two day Mohini Nrithyotsava 2012 at Seva Sadana, Malleswaram. Guru Sridevi Unni has been an artistic bridge between Karnataka and Kerala. She has already been successfully choreographing Kannada compositions for Mohini Attam medium. The concluding day’s programmes on Sunday last brimmed with good quality and standard of artistry.
Vivacious Odissi duet: Young Odissi performer-Guru Madhulita Mahapatra underscored the niceties of Odissi in her compact recital. Accompanied by her disciple Sonalika Padi, Madhulita made her duet a vivacious one. A good understanding, well coordinated movements, identical manodharma and praiseworthy artistry marked their duet. The high point of the duet was the explication of an Oriya composition Bajuchi sahi bajare. The episode of a Sakhi cautioning Radha about the scandalous rumors about her love affair with Krishna and Radha’s reactions were elegantly unfolded. In the earlier piece (Konark Kantee), they paid a choreographic homage to the Konark Temple and its lively sculptures through their immaculate rhythmical variations, sculptured poses and expressive mudras.