This year’s World Dance Day was celebrated on 28th and 29th April in a grand manner. Three different organizations took great interest and initiative in making it a befitting and popular celebration. Dancers from within and outside Karnataka participated enthusiastically in the celebrations explored the varied vocabulary of dance. Shristhti Center of Performing Arts and Institute of Dance Therapy led by A.V.Sathyanarayana had a week long programmes of dances held at four different places. A couple of dance features were among the other highlights of the events.
Sai Arts International led by a dynamic technician and dance-promoter Sai Venkatesh hosted dance performances on April 29 at Seva Sadana, Malleshwara, Nayana auditorium, K.H.Kala Soudha auditorium, Hanumathnagar and JSS auditorium, Jayanagar in connection with the World Dance Day. The celebrations were inaugurated by two dance performances by Shwetha Venkatesh(Kathak) and Maya Krishnamurthy(Odissi) at Yamani Muthanna Dance Centre, Indiranagar on April 28.
Alliance Francaise joined hands with art historian and archivist Ashish Khokar to present one day dance schedule on April 28. Apart from short duration dance recitals, a film show “A Century of Indian Dance” from the Khokar Archives and a seminar on “Classical Dance and Modern Times” chaired by an eminent and veteran art critic Shantha Serbjeeet Singh who is also the vice-chairperson of Sangeet Natak Akademi, New Delhi and Chairperson of Kathak Kendra drew good audience. Her key note address presented realistic and also idealistic perspectives of classical dance. Ashish Khokar anchored the show competently. The 15th anniversary issue of Attendance was released by Chiranjiv Singh.
Gaiety and glory of violin: The internationally-acclaimed virtuoso violinist-brothers Mysore M. Nagaraj and Dr. Mysore M. Manjunath always upholding the traditional gaiety and glory of Carnatic music sent the packed rasikas at the Seshadripuram College open-air auditorium into raptures with their magnificent manodharma and music. Performing for Sri Seshadripuram Rama Seva Samithi during its 65th Sri Rama Navami celebration it was an intelligent, beautifully-packaged and well-played performance. Very well playing the traditional music on two beautiful violins with notable aplomb and dexterity the some of the gem ragas and krithis were elegantly recreated.
Gifted with fascinating techniques of each, alternating solo and duo and improvisation both the brothers were well in command of their instruments and to have, furthermore, a goodly command of the stylistic vocabulary of Carnatic violin confection. The varied rhythms were bracing and the balances adroitly gauged.
Like me, the classic audience looked forward to more music-making from these serious instrumentalists and we got it. Their concert communicated the spirit of enlightenment through engaging performances. Their sweep and ardor sounded beautiful. What was striking was the perfect agreement between them, be it improvisational turns or playing together. The dialogue moved in subtle improvisations in duo. Thus we could hear music that advanced and placed it in the poetry category.
The violinists greeted the listeners with their opening rendition of Thyagaraja’s Tereteeyagaraada. Plumbing the depths of sound the erected a pleasing image of Saraswathi Manohari raga for an old-time favourite krithi Enthavedukondura. Ramachandram Bhavayami in Vasantha raga was marked by lyrical intensity and clarity. Kharaharapriya(Pakkala nilabadi) and Shankara bharana(Edutaa nilachithe) ragas were drawn on a wider canvass. It was like stepping into the flow of a brook, discovering new, subtle twists and turns within the current.
With an in-form duo, the spectrum of sound and tonal-textures became expanded and enriched further. The duo injected energy and passion into the alapanas, neraval and swaraprastaras. They shone forth in making their performance a unique event full of the creative mystery and excitement of the present moment. There were many creations which could be patented to them. A brief alapana in Nasikabhooshini followed by the familiar Maaravairy Ramani krithi was full of impact. Daasana maadiko enna(Nadanamakriya), Pibare Rama rasam (Ahirbhairav) and Mohanak alyani tillana formed the concluding part of Nagaraj and Manjunath’s resonating violin duet. On one or two occasions, the double mridanga support lent by H.S.Sudheendra and Jayacha ndrarao and the concert as a whole tended to be boisterous, but thank the artistes, they made amends suitably and music could be heard and enjoyed to the core.
Beauteous Bharatana tya: Young dancer Samanvitha Sharma’s disciple Surabhi Balakrishna went through her debut performance held at ADA Rangamandira on Sunday victoriously and won laurels for herself and her teacher. The Kannada jathiswara was rendered neatly. The aduvus, jathis and swaras were marked by variety and the dancer presented them in a copy book manner. Surabhi captured the beauty of the Goddess Shringeri Sharada in her eloquent abhinaya which was supported by the lyrics of Padmacharan Shringapuraadheeshwari Sharade(Kalyani). The shloka prelude was useful.
Demonstration of hasthas and mudras was totally unnecessary. In the Bhairavi varna(Mohamaana) the dancer was one with a khanditha nayaki. The adjoining nritta and nrithya components were treated appropriately. Her padaabhinaya (Nee maata, Poorvi Kalyani) was rewarding. Samanvitha(nattuvanga), Rohini(vocal), Maheshswamy(flute), Lingaraju(mridanga) and others enriched the dance.
Delectable Deepasree: Multi-talented Deepasree exposed her praiseworthy talent in Bharatanatya and attracted the lovers of dance assembled at Yavanika with her compact presentations during her Every Friday Cultural Evening Programme. She is blessed with a well structured body and captivating facials. She could convey much more through her communicative eyes. She had a charming start with Ananda narthana Ganapathim, an eulogy to the dancing Ganesha. Deepasree needs to be commended not only for her selection of a Kannada varna Sundareshwaranu baaranethake (Abheri, by flautist Maheshswamy) but also for its exposition. The depiction of Goddess Parvathi pining for Lord Shiva vouched for her abhinaya artistry. Delineation of an Antahapurageethe(Enee mahaanandave, Hindola) and Saako ninna moha showed her as a merited actress. She concluded with Brindavani tillana. The music ensemble of Guru Rajalakshmi(nattuvanga), Srivatsa(vocal) and others embellished the dance recital.