Colourful Nitya Nritya

Nupura celebrated the ‘International Dance Day’ with a three-day Nitya Nritya dance festival. Malavika Sarukkai, who presented the iaugural programme, is a well-known dancer, who has evolved a distinctive style of her own. She opened her recital with Malhari, in raga Gambheera Nata and made an instant impact. One could see the flowering of lyricism in her movements, in the verses of Krishna Karnamritha.

It was portrayed convincingly in Malavika’s interpretation. The Astapadi of Jayadeva was as evocative due to its lyrical potential. After the Kannada Devaranama she concluded with a tillana of Dr M Balamuralikrishna. With her spontaneity, natural grace, restraint but beautiful expression, she impressed the connoisseurs easily.

Popular appeal

A 12-day cultural festival was held in a serene atmosphere at the ISKCON Temple in connection with the Brahmotsava. Staff and students of the Dahar Institute of Fine Arts gave a dance recital here, last week, under the direction of Usha Dathar, senior dancer of the state.

The Gajavadana gave them a good start. But the piece-de-resistance was Neene Anathabandhu the well- known devaranama. Changing the roles in quick succession they performed the Krishan Sudhama, Dyutha, Vastrapaharana, Gajendra Moksha— episodes with more mime and drama.

It was pleasing with its popular appeal. The Jagadoddarana was also captivating. Kerala's Kummi  was a different experience. Rajudathar (vocal), Janardhana (mridangam) and Narasimha Murthy (flute) supported from the wings.

Gotu Vadya

The NR Colony Rama Mandira conducted the Ramotsava at the specially erected ‘S N Murthy Platform’, with religious and cultural programmes. Usha Rama Murthy presented a gotu vadya recital, accompanied by Mudanur Raghuram on violin, A V Anand on mridanga and B R Ravi Kumar on ghata. Though gotu vadya has its own history, there are very few players of it, more so among ladies ! Usha belongs to that small group who plays that and she is one among very few lady gotu vadya performers. The familiar Varna valachi  gave her a flying start and followed it with Gajavadana Karunasadana. The Ramachandra Bhavayami was another fine selection. All-time favourite Teliyaleru Rama was briefly elaborated. Her pantuvarali was also neat, though short of resonance. And surprisingly the customary ‘Tani’ of the percussionists was also not there.

Romeo and Juliet

Nothing indeed could have lent greater impact and charm than the instant aesthetic appeal of Saswati Sen's Romeo Juliet, to the valedictory of the Nitya Nrithya.The popular play ‘Romeo and Juliet of Shakespeare has been created and recreated in different forms, all over the world. Now the Kalashram of Pandit Birju Maharaj has brought it as a dance drama through the idiom of Kathak. It was a eye-filling presentation. The distinct flavour of the kathak— the footwork, the rhythm, was very well exploited through out, appealingly. Choreography of Saswathi Sen was meaningful, lively and impactful. The background music by Pandit Birju Maharaj and Louis Bank  was something to rave about. Using both Indian and Western instruments (no vocal!) it was inspiring and impactful, throughout. The costumes and light effects also contributed to the success. Saswati Sen  (Juliet) and Deepak Maharaj (Romeo) had commendable support from a host of artistes who shared the honours.Connoisseurs of Bangalore wished Nupura would organise the Nitya Nritya dance festival every year.

Sweet melodies

The Vardhanthi (birthday) of H H Sri Vidaya Shankara Bharathi Swamiji, was celebrated in a unique way, last week. Vidyabhushana, who gave a vocal recital here on last Saturday, is known for his rendering of Haridasa compositions. In this festival also, a packed house heard his vocal with rapt attention and respect. He opened the programme with Girija Ramana and chose Marivere. It was followed by a number of Devaranamas of different Haridasas, which also revealed their lyrical grandeur. The legendary composition Nambi Kettavarillavo was sung with good feeling. With his sweet voice, he also sang Dangurava Sariraiah and Baro Bhavajanaiah neatly. Different Ugabhogas like Pokkullali Gandu Padedavarunte, Saagarada Thereyanthe, Ninnantha Swamy Enaguntu redolent with lyrical charm and lilting melody, were appreciated by the connoisseurs. Thamburi  Meetidava and Bhagyada  Lakshmi  Baramma brought the  curtains down. Srimushnam Raja Rao's mridanga, was the other attraction of the concert and C N Chandrashekar and G Omkar supported on violin and ghata.

Haridasa Habba

The Haridasa Sampada Trust conducted the annual ‘Haridasa Habba’ with music (Hindustani, Carnatic, Sugam Sangeetha), bhajans and lectures, last week. Popular artiste M Venkatesh Kumar regaled the audience here with his soulful vocal on Sunday. A full house (Gayana Samaja Auditorium) heard the compositions of different Haridasas, with deep interest. Gajamukhane Siddidayakane is a welcome change from the routine invocatory pieces. Blending his voice with Sruti and rendition Nambide Ninna Paada stood out for its aesthetic charm. Hari Kunidaa namma is a familiar pada and he also sang  Thorai Parvathiye Shankarana and Yogasanadollirpa  lively. His discerning perception for subtle nuances effectively infused into musical precision.

The Thoredu Jeevisabahude was embellished with lovely phrases.

His final composition Ondu Baari Smarane Salade reverberated and there was no end to the joy of the listeners. Dr Ravindra Katoti (harmonium) Rajagopal Kallurkar and Keshavajoshi (tabla) and Venkatesh accompanied the main artiste.