<p>Many young and old musicians and dancers performed. Bharathanatya, Karnatak and Hindustani classical music, jugalbandhis were a part of this celebrations. Apart from this , the Vasundhara Performing Centre honoured senior artistes too.<br /> <br /> Deepika Phanibhushan and Seema Jawahar, disciples of Vasundhara Doreswami gave Bharathanatya recital on the September 20. Vasundhara herself performed the natuvanga. They were accompanied by Balasubramanya(Vocal), M R Hanumantha Raju (mridanga), M Narayan (violin), Rakesh (flute), and H L Shivashankarswamy(mridanga).<br /><br />Deepika who performed first has a pretty face that explores the abhinaya well. The sanchari bhavas added colour to the nritya bandhas like Padavarna and devaranama. Accuracy in laya is like backbone of the dancer. If a dancer’s one ear is for music, the other should be for natuvanar’s tala with which the steps should synchronise. Many a times Deepika’s steps were not blending with the tala indicating the need for increased preparations. <br /><br />She started her recital with Thodayam, followed by Vinayaka Stuthi. Her real talent came alive in the Padavarna in Tamil ‘ Innum en manam’ in the Raga Charukeshi. The virahothkanthita Nayaki and the vasaka sajja were well presented. It had a few fine abhinaya in sanchari bhavas like Gopika Vastrapaharana and the deers listening to Krishna’s flute forgetting to chew the grass in their mouth. <br /><br />A Kannada devaranama ‘Harismarane mado niranthara’ in ragamalika included Draupadi vastrapaharana that had ample of scope for abhinaya. She concluded the performance with a mangala of Sri Ramachandra.<br /><br />Seema Jawahar is another senior disciple of Vasundhara Doreswami. She presented the recital after receiving the honour by the Art centre. An inaugural Guruvandana in nagaswaravali lead to a Tamil Varna that had vipralabdha shringara of the Khanditha Nayaki. “Anname aruginil va”(valachi-Subbudu) has the story of Skanda and Valli’s Love. Devayani as the khanditha nayaki was well depicted by Seema. <br /><br />The woes being shared with her sakhi was also good. <br /><br />The Nrutta had a few interesting utplavanas, bhramaris and karanas. She used the entire stage skilfully. The only hindrance for rasabhava was the rigid and jerky neck movements.<br /><br />The Kannada Javali she danced in Des was a fine presentation. Seema did full justice to it ( Viraha taapa taalalare). A matured abhinaya backed it up. She concluded the recital with a Tillana in Sumanasaranjani , composed by Nagavalli Nagaraj.<br /></p>
<p>Many young and old musicians and dancers performed. Bharathanatya, Karnatak and Hindustani classical music, jugalbandhis were a part of this celebrations. Apart from this , the Vasundhara Performing Centre honoured senior artistes too.<br /> <br /> Deepika Phanibhushan and Seema Jawahar, disciples of Vasundhara Doreswami gave Bharathanatya recital on the September 20. Vasundhara herself performed the natuvanga. They were accompanied by Balasubramanya(Vocal), M R Hanumantha Raju (mridanga), M Narayan (violin), Rakesh (flute), and H L Shivashankarswamy(mridanga).<br /><br />Deepika who performed first has a pretty face that explores the abhinaya well. The sanchari bhavas added colour to the nritya bandhas like Padavarna and devaranama. Accuracy in laya is like backbone of the dancer. If a dancer’s one ear is for music, the other should be for natuvanar’s tala with which the steps should synchronise. Many a times Deepika’s steps were not blending with the tala indicating the need for increased preparations. <br /><br />She started her recital with Thodayam, followed by Vinayaka Stuthi. Her real talent came alive in the Padavarna in Tamil ‘ Innum en manam’ in the Raga Charukeshi. The virahothkanthita Nayaki and the vasaka sajja were well presented. It had a few fine abhinaya in sanchari bhavas like Gopika Vastrapaharana and the deers listening to Krishna’s flute forgetting to chew the grass in their mouth. <br /><br />A Kannada devaranama ‘Harismarane mado niranthara’ in ragamalika included Draupadi vastrapaharana that had ample of scope for abhinaya. She concluded the performance with a mangala of Sri Ramachandra.<br /><br />Seema Jawahar is another senior disciple of Vasundhara Doreswami. She presented the recital after receiving the honour by the Art centre. An inaugural Guruvandana in nagaswaravali lead to a Tamil Varna that had vipralabdha shringara of the Khanditha Nayaki. “Anname aruginil va”(valachi-Subbudu) has the story of Skanda and Valli’s Love. Devayani as the khanditha nayaki was well depicted by Seema. <br /><br />The woes being shared with her sakhi was also good. <br /><br />The Nrutta had a few interesting utplavanas, bhramaris and karanas. She used the entire stage skilfully. The only hindrance for rasabhava was the rigid and jerky neck movements.<br /><br />The Kannada Javali she danced in Des was a fine presentation. Seema did full justice to it ( Viraha taapa taalalare). A matured abhinaya backed it up. She concluded the recital with a Tillana in Sumanasaranjani , composed by Nagavalli Nagaraj.<br /></p>
