<p>Vasundhara, who is known for her sublime experiments with classical dance captured the audience with yet another thematic presentation. <br /><br />She was assisted by Sandesh Bhargava (Natuvanga), P Rama (vocal), Janardhana Rao (Mridanga), Prasannakumar (Rhythm pad), Narayan (Violin) and R Raghunandan(Flute). The script was written by Udyavara Madhava Pai and the female voice support by Vijaya.<br /><br />Mythological story<br /><br />In the mythological story of Dakshayini, the daughter of King Daksha , marries Shiva against the wishes of her father. She attends a Yajna conducted by Daksha against her husband’s wishes. <br /><br />There, she is insulted by one and all and unable to bear the insult to her husband, Dakshayini destroys herself. <br /><br />Shiva takes vengeance for this and Dakshayini takes rebirth as Girija and marries Shiva.<br /><br />This storyline included Dakshayini’s childhood(right from crawling), youth, arrangements of the wedding, the celebrations , send off, her nostalgia of her maiden days(studded to the brim), craving to visit her mother’s house, disappointment on not receiving the invitation from her father for the Great Yajna, her immolation with ‘Yogaagni’. <br /><br />The writer concludes by sayingthat the subtle wishes of a woman are destroyed in the conflict of two masculine powers. All these were comprehended in this presentation. <br />They were adapted to dance through songs and narrations. <br /><br />Vasundhara was perfect in her classism and abhinaya. Different stages of Dakshayini’s life were depicted with true involvement and dedication . <br /><br />She successfully brought out the required rasa in every sequence. Her choreography was superb. <br /><br />The effulgence laid in framing every sequence with utmost care and without compromising with classicism at any point.<br /><br />Many a times the lines which were just verbal with no poetic resonances like ‘Hogabeku thayamanege marali innomme’ or ‘unnabeku doddammana kaituthu’, ‘Appana maneyalli yaaga untanthe’. ‘langa daavaniyalli belakaadalu’, diminished the depth of the subject instead of strengthening it. <br /><br />The music too sounded like light classical. A more subtle and suggestive literature would have enhanced the experience of dance. <br /><br />However , the voice modulation in bringing the dramatic effect and the lungs power Madhava Pai displayed were commendable. Unperturbed by any shortcomings, Vasundhara danced for the pleasure of the rasikas.</p>
<p>Vasundhara, who is known for her sublime experiments with classical dance captured the audience with yet another thematic presentation. <br /><br />She was assisted by Sandesh Bhargava (Natuvanga), P Rama (vocal), Janardhana Rao (Mridanga), Prasannakumar (Rhythm pad), Narayan (Violin) and R Raghunandan(Flute). The script was written by Udyavara Madhava Pai and the female voice support by Vijaya.<br /><br />Mythological story<br /><br />In the mythological story of Dakshayini, the daughter of King Daksha , marries Shiva against the wishes of her father. She attends a Yajna conducted by Daksha against her husband’s wishes. <br /><br />There, she is insulted by one and all and unable to bear the insult to her husband, Dakshayini destroys herself. <br /><br />Shiva takes vengeance for this and Dakshayini takes rebirth as Girija and marries Shiva.<br /><br />This storyline included Dakshayini’s childhood(right from crawling), youth, arrangements of the wedding, the celebrations , send off, her nostalgia of her maiden days(studded to the brim), craving to visit her mother’s house, disappointment on not receiving the invitation from her father for the Great Yajna, her immolation with ‘Yogaagni’. <br /><br />The writer concludes by sayingthat the subtle wishes of a woman are destroyed in the conflict of two masculine powers. All these were comprehended in this presentation. <br />They were adapted to dance through songs and narrations. <br /><br />Vasundhara was perfect in her classism and abhinaya. Different stages of Dakshayini’s life were depicted with true involvement and dedication . <br /><br />She successfully brought out the required rasa in every sequence. Her choreography was superb. <br /><br />The effulgence laid in framing every sequence with utmost care and without compromising with classicism at any point.<br /><br />Many a times the lines which were just verbal with no poetic resonances like ‘Hogabeku thayamanege marali innomme’ or ‘unnabeku doddammana kaituthu’, ‘Appana maneyalli yaaga untanthe’. ‘langa daavaniyalli belakaadalu’, diminished the depth of the subject instead of strengthening it. <br /><br />The music too sounded like light classical. A more subtle and suggestive literature would have enhanced the experience of dance. <br /><br />However , the voice modulation in bringing the dramatic effect and the lungs power Madhava Pai displayed were commendable. Unperturbed by any shortcomings, Vasundhara danced for the pleasure of the rasikas.</p>
