by its monthly celebrations, has carved a niche on the cultural wall of
Bangalore. The fifteen month old festival has been attracting artists from
even beyond the shores of the country. A platform, where the established
and the talented, now create together in harmony, an audio and visual imagery.
The spectators are equally fascinated by this coming together of artists
of different genre of dance art and age group. Seva Sadan in Malleshwaram,
with its own aura of simplicity has once again been the venue of this festival
on the 1st of August 2010. The stage craft needs a special mention. For
the past three festivals, the backdrops have been different, interesting
and seemed specially designed for the festival. The "Aane Netti Pattu"
that's so symbolic of Kerala was the centre piece. A visual art complementing
the performing arts.
Anantha Narayan, who did the nattuvangam, led her team with Bharathi Venugopal
for vocal support, Bangalore S Tulasiram on the mridangam and Bhaskar on
the flute, in support of her daughter/disciple Sangeetha Anantha Narayan's
Bharatanatyam recital, commencing with a Ganesha Stuti in Raga Naatai,
Aadi Tala and concluding with a bhajan of Goswamy Tulasidas "Thumaka Chalata
Ramachandra." Sangeeta interspersed a Varnam "Ninne nera nammi naanura"
in Raga Attana, Tala Adi. Her invocatory number set the evening to a spiritually
charged mood and her abhinaya in the next two numbers were elegant, subtle
and communicative. Meandering through the changing emotions from that of
a devotee seeking the love and compassion of Lord Krishna to the cries
of child Rama and the motherly tenderness of Kausalya, Sangeeta drew the
attention of the audience.
and S.A.I presented Natya Series-2 "PARIJATA" in a series dedicated to
narrate through the medium of dance, the puranic stories behind the medicinal
plants that are native to India. Enticed into love by the handsome sun
god, an innocent princess in the bloom of her youth weaved dreams of romantic
time with her first love. On seeing the sun god not coming to her on the
following day after having promised her to do so, and seeing him on the
following days in the company of Usha, Sandhya and a host of other beautiful
ladies, the princess feels dejected and let down. In anger and frustration
she immolates herself and on her wishes, her friends bury her ashes in
the shades of the deep forest. From the ashes arose a beautiful plant that
bloomed in the night with flowers as tender as the princess and the fragrance
wafted through the forest. On the first ray of sunlight, the tree shed
its flowers as though hurt by the sun god. Parijatha was that lovely tree.
as the princess & co-dancers
Nishant & Shamika as Usha, Soorya & Sandhya
as the Sun God in his mortal form, Anjana as the princess who turned into
the Parijatha tree, Shamika as Usha, Shweta Venkatesh as Sandhya along
with Laksha, Adithi V Rao, Vidisha and Ashita as the friends of the princess
including Anagha, Chaitra, Anusha, Supriya, Meghana, Samhita and Raksha
as the seven horses, did an excellent job and lived the character that
they portrayed. Pawan Kumar, who performed as the Sun God, choreographed
the dance feature to the idiom of Mohiniattam. The fact that Bharatanatyam
dancers picked up the basic nuances of Mohiniattam and justified the art
form apart from performing a beautiful ballet, was highly appreciated by
Bhuvana G Prasad,
disciple and daughter of Guru Sita G Prasad, commenced her Bharatanatyam
with a Thodaya mangalam "Jaya Janaki Ramana" in Ragamalika and talamalika.
Bhuvana chose a different approach in its presentation in her second dance
number. Oothukadu Venkatasubba Iyer's composition reflecting the impact
that the music from Krishna's flute had on the trees and plants, the animals
and birds and even on the men and women of Brindavan, was set to the music
of ritual Kavadi. "Nindranda Mayele" though a strong lyrical one, did not
impress the audience. A grammar that did not fit into the language of Bharatanatyam.
Bhuvana's concluding item, a Thillana in Mohana Kalyani raga and Adi Tala
in praise of Lord Shanmugha, a composition of Lalgudi Jayaraman, was executed
disciple of Guru Sunanda Nair, offered her obeisance to Lord Ganesha in
her opening dance "Adbhuta Narthanam." Set in Gambhira Natai raga and Eka
Tala, the item extolled that this elephant headed God who also dances,
is the one who frees man from the cycle of birth and death. The mid number
in her recital was an ode to that supreme energy, Mahashakthi. She is the
cosmic power, the force of nature, the kinetic energy in every movement
of this universe. She, the one who manifests in different form as the energy
principle, is the one that demands our submission at her divine feet. The
item was set to raga Gowla and Adi Tala that was performed with elegance.
The concluding dance number was in praise of Shiva. "Mahadeva Shambho"
in Raga Revati and Adi tala, though an oft seen repertoire of dancers,
was made very interesting by the weave of Karanas and Angaharas in the
tapestry depicting the cosmic dancer Nataraja.
Minu Mohan and Sharmila Gupta, disciples of Guru Padmini Ramachandran,
performed a pushpanjali with Ganesha Vandana, an item glorifying the various
deeds of Krishna in "Jagan mohanane Krishna" and a Thillana in pancharatna
with gethu. First of all, the recorded music used by this trio was of very
poor quality and their control over the technicality of dancing was measurable.
The friendly duel in the concluding item drew only the screech of the metal
chairs against the concrete floor than applauses as the audience began
to leave the auditorium ahead of the Mangalam. The moral of the story is,
do not take the audience for granted.
Minu Mohan and Sharmila Gupta