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Kaleidoscope of different forms
B. RAMADEVI
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Pollachi Tamizhisai Sangam’s event featured talented dancers showcasing their best.
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Pollachi Tamizhisai Sangam had organised its 22nd dance festival at Meenakshi Thirumana Mandapam, Pollachi, featuring Bharatanatyam, Mohiniyattom, Kuchipudi, Odissi and Kathak.
On the inaugural day, the dancer couple, M.V.Narasimhachari and Vasanthalakshmi Narasimhachari, was honoured with the title, ‘Nattiya Kalai Sudar’ at a colourful function.
The students of ‘Kala Samarpana Foundation’ (also their disciples) presented a Bharatanatyam recital of high quality.
‘Kuchelopakhyanam’ brought out the friendship between Krishna and Kuchela while the navarasa varnam portrayed the nine emotions with the help of various episodes from the Ramayana.
Both themes have immense potential for dramatisation and Narasimhachari exploited every opportunity while choreographing these pieces in a tasteful and lively manner.
Lipsa Dash (Deba Prasad Das gharana) presented her Odissi recital on the second day with a detailed introduction, highlighting the significance of each item.
She began with the mangalacharan on Ma Kali, and proceeded with an excerpt from ‘Gita Govinda’ portraying the love between Krishna and Radha.
Inspired by sculptures
‘Sthayee,’ based on pure nritta followed, and Lipsa’s statuesque poses inspired by the temple sculptures were beautiful.
She concluded her recital with Suryashtakam, depicting Sun in its different positions such as the rising sun, the sun at its zenith, the setting sun and the nocturnal sun.
She was given vocal support by Sri Sukanta Kumar Kundu along with guru Niranjan Patro (pakhawaj), Suramani Ramesh Das (violin), and guru Pitambar Biswal (manjeera).
It was followed by the magnificent ‘Silappadikaram,’ a dance drama featuring Vadivu Devi and her troupe (Padmashri Natyalayam) from Thanjavur.
On the third day, Nrithyathi Kalakshetram (Bhilai) presented Bharatam, Mohiniyattom and Kuchipudi. Dressed in typical Mohiniyattom costume and hair-do, the dancers enchanted while presenting ‘Cholkettu’ and a padam, ‘Omana Thingal Kidaavo’.
The latter, by Shweta Nayak, was full of vatsalya rasa, as the dancer bathed, dressed, fed and put her sweet little baby in the cradle to sleep after making sure that there was nobody around to disturb him.
The Bharatanatyam segment comprised Pushpanjali in Hamsanadham, Siva Sthuthi, Todaya Mangalam (Jaya Janaki Ramana), sabdham (‘Devi, Thaye’ and ‘Karunai Puriya Ithuve Samayam’), varnam in Atana (‘Ninne Namminanura’ by Esha) and a tillana in Misra Sivaranjani.
Nattuvangam by guru Ratheesh Babu who also gave vocal support along with Swetha Prasad was crisp and clear.
Renuka Prasad on the mridangam, S. Sankaran on the violin and R.V.B. Balachandran (special effects) formed a good team. Kuchipudi by the same team was equally good.
The highlights of the festival were the scene at the court of the Kauravas and the plate dance for ‘Marakatha Manimaya’ (Oothukkadu Venkatakavi).
The guru was the same and the students were the same.
But how well-distinguished were the different styles of dancing!
This admirable attempt would have been more impressive had they paid more attention to their make up and hair-do.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
