Sparkling with energy
Bhavya... fluid movements
WHEN TALENT and commitment combine, excellence cannot be far behind. Bhavya Balasubramanian, a disciple of Srekala Bharath, proved this through her dance programme for the Karthik Fine Arts Festival inauguration. With an endearing manner and a brightness of spirit, Bhavya captivated the audience with her grasp over form and content.
Her skills were put to test in ``Bhavayami Raghuramam," Maharaja Swati Tirunal's ragamalika kriti in Rupaka talam that was punctuated with nritta passages in a varnam format. Bhavya has a good concept of the fundamentals in pure dance. Her fluid movements sparkled with energy and an unerring time-sense. She did not tire even through long and fast-paced nritta passages that involved extended movements across the stage. But such pace and movement did hinder the proper completion of steps.
This tightening up of footwork must be addressed.
Bhavya's confidence extended to the uninhibited handling of a long and complicated storyline too. Her sensitivity was especially noticeable in the split second transformation of Soorpanaka from an ungainly she-demon leering at Rama into a flirtatious, beautiful maiden, making eyes at her hero. And herein lies the perceptive intelligence of the dancer. Her portrayals of other characters like the arrogant suitors in the Swayamvara scene, the evil Manthara convincing Kaikeyi, as also the imagery of the Sethu Bandana scene, were convincing.
This sprightly, young teenager opened her recital with a Gambhiranattai Anjali followed by the Andal Kauthuvam. The pace and rigour of this piece was kept up till the end, despite the items being performed without a break in between. The padam `Aduvum Solluval' in Saurashtram, Adi talam, took a quick look at a woman's sense of acceptance laced with hurt and disgust, vis-à-vis another who is now her Lord Muruga's `preferred one.' Bhavya was suitably upset and resigned to suit the mood.
The final thillana, in Ratipatipriya ragam, Adi talam, a composition of Ghatam vidwan Karthick was an exercise of complex rhythmic patterns packaged in melody, demanding of the dancer and musicians alike.
The dancer was guided well by her guru Srekala Bharath on the nattuvangam and Venkatsubramaniam on the mridangam. The orchestra was strong on melody with Chitrambari Krishnakumar's vocal and Muruganandam's violin prowess impressing.
Bhavya has all the ingredients for the making of a fine artiste. Only her style requires some polishing, but given time and continued effort she will surely blossom into a mature exponent of the art form.
RUPA SRIKANT
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