Artistes from Karnataka enthrall

On Saturday at Shilparamam, a Bharatanatyam recital was given by Srujana Suresh disciple of Guru Bala Vishwanath, head of Nilalaya Nruthya Kendra, Tumkur. She began elegantly with Pushpanjali in Niranjani Raaga which is an invocatory dance, where in the dancer prays to mother earth and takes the blessings of Lord Nataraja and her guru.

The name derives from the unfolding of a flower to which this item is likened to in the dance repertoire. "Mahaganesham Sri Ganana" is a dance, which describes and praises Lord Ganesha using his many names like Gananatha, Ekadantha, Omkararoopam, Pranava, Vakrathunda and so on in Adi Raaga.

“Kanchadalayakakshi Kamakshi" describing the one, who has large eyes like lotus petal's and is the most beautiful lady in the Trilokas (Three Worlds). The raaga in which this composition was set is aptly called Kamala Manohari and composed by Muthuswamy Dikshithar. This was beautifully expressed by Srujana.

“Bhagilanu Theredu Saeveyanu Kodu Hariye” is an expressive dance piece based on casteism in India and it was brought out tellingly by the artiste through the famous poem of Saint Kanaka Dasa. This poem shows that even God could be moved through true devotion. This has two sequences, one is Gajendra Moksha and the other one is Narasimha Avatara in Athana Raaga.

“Bho Shambho Shiva Shambho” in “Revathi Raaga” is a Shiva tandava, where in it describes the one who dances vigorously to drum beats, who is worshipped by sage Mathanga, who is termed as the destroyer, the one who carries Ganga and is merciful. He is worshipped through this song composed by Swamy Dayananda Saraswathi.

Thillana was the rhythmic and joyful piece generally performed at the end of the Indian classical dance performance. This piece was in Brindavani Raaga composed by Dr Bala Murali Krishna and briskly performed by the dancer.

Sunday witnessed a Bharatanatyam duet by Poorna Suresh and Rashmi Thaper from Karnataka. They started with a Ganesh Stuthi "Pranavakaram Siddhi Vinayakam" in Shuddha Dhanyasi requesting the son of Parvathi for his blessings. Devi Stuthi from Rajeshwari Ashtakam and other Stotrams in Ragamalika gave scope for the dancers to splendidly display the glorious forms of the mother goddess.

Javali "Nee Matalu Emayanura" by Pattabhiramaiah in Poorvi Kalyani engrossed the audience with its depiction of the Nayika complaining of her Lord who does not keep his promises of bringing her rich gifts. A lovely Kshetrayya Padam on Krishna described the three forms of Nayikas namely Mughda, Madhya and Pragalbha showing their different attitudes in love. Vrishabhanatha Thillana in Jhonpuri concluded the recital.

By Anna Rao Gangavalli