Music and dance reviews

Essence of folk: Artistes present ‘Gowdara Malli. Successful Nitya Nritya

“Nitya Nritya”, the annual dance festival of the Nupura, was held last week to mark the ‘World Dance Day’. Seminar was also conducted on “Dance - from auditorium to open space”, in which V A K Ranga Rao, S Sridhar, Karuna Vijayendra, Chitra Aravind participated and Dr Sunil Kothari, veteran scholar, acted as the moderator.

It was followed by a Bharathanatya recital by Kirti Ramgopal. She opened her programme with the Pushpanjali (Hamsadwani) and chose a verse from the Krishna Karnamritha.
Sequences such as Geethopadesha, Vastrapaharana were performed with practiced ease.

She concluded with a popular Abhang (Maslee Radha) and a well knit thillana (Simhendra madhyama).

Less dance, more drama

Sujatha Mahapatra, who gave a Odissi dance performance, is the daughter-in-law of Guru Kelucharan Mohapatra and Principal of Srijan, the famous Odissi Institute.

She paid obeisance to Vishnu in the opening Mangalacharan (Rag Gurjari Thodi). Pallavi in eka thala, from slow movement to ‘Drutha kaala’ blossomed into a fine Nritha piece.

She chose ‘Panchavati’ for ‘Abhinaya’. Different episodes from Ramayana were performed gracefully. But it was more of drama and less dance.

Short-story based ballet

Curtains came down on this year’s “Nitya Nritya’ with a ballet by Nupura. “Gowdara Malli” was based on a story by Masti Venkatesha Iyengar. The poem portrays the life of a village belle (Malli). Senior Guru Lalitha Srinivasan has choreographed folk dances like Suggi Kunitha, Pooja Kunitha which suited the story very well. It has been staged few times earlier also, may be with old team of students of Nupura. Now, the new batch of students of Nupura performed with ease and gay abandon. But the production will be much more impactful with some more editing.

In the concluding session of the music festival at the Sree Seshadripuram Rama Seva Samithi, N Vijayashiva sang accompanied by Dr Hemalatha on violin, Umayalapuram Mali on mridanga and N Guruprasad on ghata. ‘Karubaru’ a classic krithi of Tyagaraja, was rendered with good ‘raghabhava’. The nerval for ‘Devadevam Bhajeham’ was good but was rather finished abruptly. His Shankarabharana was chiselled with delectable phrases and tonal flourishes. In between, he sang few devotional with good feeling.

The ‘Harivasarada Upavasa Bhagyavu’ is a meaningful devaranama, while ‘Leela Natakadhari’ attracted with lilting melody.         

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