A grandmother and granddaughter synergised to put up a sterling Bharatanatya dance recital on Sunday at JSS auditorium. Veteran dance Guru Revathi Narasimhan presented her granddaughter Sahana Kashyap and the latter did well. Her mother Deepa Srikanth (daughter of Guru Revathi Narasimhan) is also a trained Bharatanatya dancer. Sahana Kashyap thrilled the rasikas by taking on the subtleties of Bharatanatya with an athletic verve. She brought a quicksilver precision to her select-compositions. With rock-solid laya and with attention to each movement, she exhibited both talent and artistry. With a brisk pace and eclectic tenor, she began the recital with Pushpanjali and Ganesha stuti. The tale of Ravana and his venture with Atma Linga was neatly interpreted by the young dancer on the basis of Purandaradasa’s popular pada Vandisuvudadiyali in Nata raga.
A pure rhythmic number Alarippu not only brings out the special charm of dance but also relaxes the dancer’s mind and body. Sahana perfectly rendered the chaturashra alarippu.The Attamis (neck movements), varied adavus, mandi adavus in particular, culminated in a vivacious footwork and attractive teermana adavus.
Papanasham Shivan’s famous Varali krithi Ka va va Kanda has the theme of Lord Murugha. Supported by its lyrics, Sahana delineated two episodes pertaining to the Lord. The significance of his birth, his settlement at Palani, his defeat at the hands of Ganesha, his transformation into six faced Shanmukha et al were scintillatingly sketched by the young dancer.
Veteran violinist Lalgudi Jayaraman’s Shanmukhapriya varna Devar Munivar was the main item of the evening’s dance recital. Lord Srinivasa of Sri Tirupathi is praised in different ways in the varna. His beautiful form, his ornaments including the crown, lotus like feet and the image of Goddess Lakshmi residing in his chest were captivating. Sahana went through the varna with lot of confidence and eloquence. To depict the greatness of the Lord, two episodes of Gajendra moksha and Drowpadi maana samrakshana unfolded. Her abhinaya was full of sharp, fleeting nuances with fast, fluid undulating movements linking them. It showed off the dancer’s extraordinary control over the histrionics. The abhinaya segments had a proportionate chunk of nritta and nrithya. The nritta had Guru Revathi Narasimhan’s touches and imprint.
Exquisitely and effectively accompanied by Guru Revathi Narasimhan (nattuvanga), the melodious singer D.S.Srivatsa (vocal), Madhusudan (violin), Maheshswamy (flute) and lively mridangist Gurumurthy (mridanga), Sahana proceeded to impress the audience with a noteworthy selection of compositions. The package included keerthana and a set of songs drawn from Divya Prabandham-Thiruppavai, Nachiyar Tirumazhi and Thirumaalai. Muthu Tandavar’s Aadikondar (Mayamalavagowla) provided the stuff for extolling the beauty of Lord Nataraja or Shiva. His enormousness was highlighted by presenting the tale of Bhakta Markandeya. Sahana captured the essence of the tale in her facile exposition.Karpooram Naarumo (Khamach). Chandira Mandalam (Mohana) and others were expounded beautifully by the dancer.
Splendid Bharatanatya In another Bharatanatya recital held at Seva Sadana on Thursday, the lovers of dance were treated to a splendid display of artistry and technique by teenaged Punitha N. Gowda, trained by young Deeksha Kumar.
It was interesting to note the combination of Guru (teacher) and Shishyaa (disciple). With hardly a couple of years dividing them, the way both of them interacted and presented the programme was astonishing. The seriousness and commitment to the classical dance form and principles was exemplary.
Deeksha Kumar, the niece and a prominent disciple of a noted exponent of Bharatanatya, late Prof. Jaya, has done well in keeping up with the legacy. Jaya was an accomplished dancer, choreographer, Guru, writer, author and organizer.
Her sudden death created a big void in the field of Bharatanatya. It is to the credit of Deeksha that she has been carrying Jaya’s mantle quite efficiently. Her recitation and articulation of Jathis were crystal clear and inspiring.
Her fourth disciple Punitha Gowda triumphantly made her first bow in front of a packed house.
Supported by Deeksha Kumar (nattuvanga), Kanchana Sriranjini (vocal), Skanda Kumar (flute), Madhusudan (violin) and Janardhanarao (mridanga), she regaled the rasikas with Sri raga jathiswara. Punitha’s nritta was taught and compact.
Different adavus were performed to attractive rhythmic swara patterns. The teermana was admirable.
The Shabda or Yasho geetha (Deva Devane) selected was in ragamalika and addressed to Lord Muruga. The story of Muruga settling down in Tiruttani and marrying Devayani was portrayed with elan. Punitha’s abhinaya was all encompassing.
Preceded by a shloka in Chakravaka raga Papanasham, Shivan’s Nattakuranji varna (Swami naanundum) was the major presentation which lasted for about 35 minutes.
The varna had the theme of a nayika extolling the glory of Lord Nataraja. She admires the dress and ornaments adorning the Lord and beseeches him to accept her.
Punitha was one with the nayika to the core. Her satwikaabhinaya was excellent.Deeksha and Punitha gave off their best in the nritta and nrithya portions.
Kannada poet DVG’s antahapura geethe Enee mahanandave (Hindola) was delightfully rendered with visually pleasing freezes and poses. The interspersing nritta was invigorating. The dancer excelled in graphically elaborating the attributes of the Devi
Bhuvaneshwari. The famous Mohana Kalyani krithi Bhuvaneshwariya nene manasa was explored artistically in exhibiting acting skills of Punitha Gowda.
Dr. M. SURYA PRASAD drmsuryaprasad@gmail.com