<p>Steps that never stop<br /><br /></p>.<p>Ponnaiah Lalithakala Academy conducted the dance series “Steps that Never Stop”, providing a platform for many senior dancers to perform. In the series this month, senior dancer Suma Nagesh gave a Bharathanatya recital at the Padmini Rao Parampara Auditorium on Monday. Suma was initiated into dance by Radha Sridhar and received advance training from Prof MR Krishna Murthy (of Kalakshiti). She has also learnt Mohiniattam and is a recipient of the “Singaramani” title from the Sursingar Samsad and is teaching at the Kalakshithi and Natyasri institutions.<br /><br />Suma opened her programme with a Vinayaka Stuthi, customarily. She then presented a number of compositions with special reference to Abhinaya. Kapali of Papanasam Sivan (Mohana raga), a Jayadeva Astapadi (Ragamalike), a Kshetraiah pada in Anandabhairavi, a Devi stuthi “Bhavani Bhavani” in Durga – expressing sentiments to the finest in all these compositions. This was followed by a beautiful vachana of Akkamahadevi “Holeva Kenjadegalla,” again in ragamalike. After the popular Meera bhajan “Gungaru band”, she concluded with the mangala “Ramachandraya Janaka”. The denouement in Sumana’s characterisations were fine and her facial expressions came alive, making the abhinaya beautiful.<br /><br />Kuchipudi<br /><br />Rajashree Holla, trained under Ramalinga Sastri and Dharani Kashyap, is continuing her practice under Veenamurthy Vijay and has performed in many festivals, both in and outside the State. In the ‘Bho Shambo’ of Dayananda Saraswathi (Revathi raga), Gangavatharana was depicted well. Paathra Pravesha Daru was from the dance drama ‘Vipra Narayana Charitham’. <br /><br />She had adopted a devaranama “Baaro Krishnaiah” for the Taranga. No doubt she danced on the brass plate, but the foot work was rather brief.<br /><br />Dancing duo<br /><br />Sisters Nitash and Bianca Radhakrishna are students of Sri Venkatesha Natya Mandira and have been trained by veteran artiste Radha Sridhar . They have passed the proficiency examination and have also completed their “Ranga Pravesha.” The duo opened their performance with a Jayadeva Astapadi. <br /><br />Only three avataras were emphasised in the Dashavatara and their sparkling eyes and brisk movements enriched their visual appeal. The Navarasabhinaya in the ‘Aadenamma’ of Puliyur Doreswami Iyer in the Raga Pharz can be more impactful with some more experience. <br /><br />They selected a thillana (Brindavani) of M Balamuralikrishna to conclude the evening’s programme. <br /><br />Nitash and Bianca Radhakrishna have a bright future ahead of them.<br /><br />Vainika Rathna<br /><br />Ranjini Kala Kendra trains youngsters in Veena and other subjects and organises the Veena Utsava every year. She confers the “Karnataka Vainika Rathna” title on a senior Veena player on the occasion. Veteran musician Rajalakshmi Tirunarayanan received this year’s award and workshops apart from Veena recitals were held on Saturday and Sunday at the Ananya Sabhangana.<br /><br />After the felicitation function Rajalakshmi Tirunarayanan gave a Veena recital, supported by Meera Raghu (co-player), VS Rajagopal (mridanga) and TN Ramesh (Ghata). She deployed her concert craft convincingly, by making it a enjoyable programme, though a brief one. Even the initial strains of the opening devaranama “Gajavadana Beduve” with interesting swara, was pleasing. Charukeshi is the 26th mela and said to be brought to light by Saint Tyagaraja and the raga became very popular in the post Trinity period. <br /><br />Rajalakshmi’s methodical approach to the raga with an aesthetic touch brought a composite picture of the melody. The popular kruthi “Kripaya Palaya”, honed to the traditional format was proof of her expertise. It was followed by a number of small but pleasing compositions. A Jawadi in Behag, devaranama (Kadagola Tharenna), Kavadi; “Siriye” and thillana in jinjoti of Veena Seshanna, received encomiums from the gathering.<br /><br /></p>
<p>Steps that never stop<br /><br /></p>.<p>Ponnaiah Lalithakala Academy conducted the dance series “Steps that Never Stop”, providing a platform for many senior dancers to perform. In the series this month, senior dancer Suma Nagesh gave a Bharathanatya recital at the Padmini Rao Parampara Auditorium on Monday. Suma was initiated into dance by Radha Sridhar and received advance training from Prof MR Krishna Murthy (of Kalakshiti). She has also learnt Mohiniattam and is a recipient of the “Singaramani” title from the Sursingar Samsad and is teaching at the Kalakshithi and Natyasri institutions.<br /><br />Suma opened her programme with a Vinayaka Stuthi, customarily. She then presented a number of compositions with special reference to Abhinaya. Kapali of Papanasam Sivan (Mohana raga), a Jayadeva Astapadi (Ragamalike), a Kshetraiah pada in Anandabhairavi, a Devi stuthi “Bhavani Bhavani” in Durga – expressing sentiments to the finest in all these compositions. This was followed by a beautiful vachana of Akkamahadevi “Holeva Kenjadegalla,” again in ragamalike. After the popular Meera bhajan “Gungaru band”, she concluded with the mangala “Ramachandraya Janaka”. The denouement in Sumana’s characterisations were fine and her facial expressions came alive, making the abhinaya beautiful.<br /><br />Kuchipudi<br /><br />Rajashree Holla, trained under Ramalinga Sastri and Dharani Kashyap, is continuing her practice under Veenamurthy Vijay and has performed in many festivals, both in and outside the State. In the ‘Bho Shambo’ of Dayananda Saraswathi (Revathi raga), Gangavatharana was depicted well. Paathra Pravesha Daru was from the dance drama ‘Vipra Narayana Charitham’. <br /><br />She had adopted a devaranama “Baaro Krishnaiah” for the Taranga. No doubt she danced on the brass plate, but the foot work was rather brief.<br /><br />Dancing duo<br /><br />Sisters Nitash and Bianca Radhakrishna are students of Sri Venkatesha Natya Mandira and have been trained by veteran artiste Radha Sridhar . They have passed the proficiency examination and have also completed their “Ranga Pravesha.” The duo opened their performance with a Jayadeva Astapadi. <br /><br />Only three avataras were emphasised in the Dashavatara and their sparkling eyes and brisk movements enriched their visual appeal. The Navarasabhinaya in the ‘Aadenamma’ of Puliyur Doreswami Iyer in the Raga Pharz can be more impactful with some more experience. <br /><br />They selected a thillana (Brindavani) of M Balamuralikrishna to conclude the evening’s programme. <br /><br />Nitash and Bianca Radhakrishna have a bright future ahead of them.<br /><br />Vainika Rathna<br /><br />Ranjini Kala Kendra trains youngsters in Veena and other subjects and organises the Veena Utsava every year. She confers the “Karnataka Vainika Rathna” title on a senior Veena player on the occasion. Veteran musician Rajalakshmi Tirunarayanan received this year’s award and workshops apart from Veena recitals were held on Saturday and Sunday at the Ananya Sabhangana.<br /><br />After the felicitation function Rajalakshmi Tirunarayanan gave a Veena recital, supported by Meera Raghu (co-player), VS Rajagopal (mridanga) and TN Ramesh (Ghata). She deployed her concert craft convincingly, by making it a enjoyable programme, though a brief one. Even the initial strains of the opening devaranama “Gajavadana Beduve” with interesting swara, was pleasing. Charukeshi is the 26th mela and said to be brought to light by Saint Tyagaraja and the raga became very popular in the post Trinity period. <br /><br />Rajalakshmi’s methodical approach to the raga with an aesthetic touch brought a composite picture of the melody. The popular kruthi “Kripaya Palaya”, honed to the traditional format was proof of her expertise. It was followed by a number of small but pleasing compositions. A Jawadi in Behag, devaranama (Kadagola Tharenna), Kavadi; “Siriye” and thillana in jinjoti of Veena Seshanna, received encomiums from the gathering.<br /><br /></p>
