Urmimala Maitra and Nisha Mariam Mammen, disciples of Guru Swapna Rajendra
Kumar, of Nrutyangan school of dance, Bangalore, performed Mohiniattam.
The opening number was a prayer to Lord Ganapathy, set in Ragam Atana and
to Adi Talam. The Sahithya chosen to carry this obeisance to the Lord was
interestingly different and weaned away from a full course of bhakthi.
Lyricist Kavalam Narayana Paniker visualizes the elephant headed, big bellied,
large eared lord, mistake Ganga gushing from His father's locks as warm
milk and drinks it. A vikata that he was, Bala Ganapathy roasts the rice
grains in the heat of Shiva's fire from his third eye; the white flowers
on Shiva's shoulders feels like puffed rice and he tries to make Appams
out of the ash that lies at Shiva's feet, only to be tenderly chastised.
The sway of the elephant's trunk, the swish of its ears and the gait became
the grammar of their movements fully justifying the dance of the enchantress
- Mohiniattam. The trio chose to describe the beauty of Krishna through
the composition "Shri Krishna Karnamrutham." The dance numbers were Dr.
Kanaka Rele's choreography.
Nigam and Sunayna S Punjabi, disciples of Guru Dr. Maya Rao, presented
Kathak. They began with a composition that opened with Goswamy Tulasidas's
Shiva Stuti, meandered through two selected verses from Adi Shankaracharya's
'Vedasara Shiva Sthava' and concluded with a brisk poetry of Balwant Rai
Bhat that was set to rhythm. A vibrant 'Kavith' from Banaras Gharana at
the end of the number depicted the Lord's cosmic dance. The duo next rendered
pure nritta to the refrains in Raag Khambavathi. The rendition of Tath,
Amadh, Tukdas and Parans in Teen Taal was brisk, crisp and elegant and
drew applause. Instead of the usual signature piece of Tarana, Vineeth
and Sunayana surprised the audience with a 'Triwat' that is rarely performed
of late by the Kathaks. Thanks to Guru Maya Rao for preserving such beautiful
compositions like Prabandh, Lakshannrutya and the one the young dancers
performed with agility and dexterity.
and Koushiki Saha, shishyas of Guru Sarbani Ghosh Chatterjee of Kolkata,
performed the perfunctionary Pushpanjali. The Talapushpaputa Karna in this
Rangamancha was danced with ease and perfection. The Sanskrit composition
"Manikyaveena" was done with grace and restrain bringing out the beatitude
of the Mother Goddess, a concept that has come from time that is even pre-Vedic.
It was Dr. Yamini Krishnamurthy's experiment to emote to Rabindranath Tagore's
poetry in Bharatanatyam that inspired Sarbani Ghosh to render Gurudev's
song through Madhuri and Koushiki. The song meant "Oh the Night has passed."
Dance has no
geographical or linguistic barriers. The girls from the Land of Tapothi
River won appreciation from the purists of the Cauvery basin.