Music and dance reviews

Music and dance reviews

Promising dancer

B Bhanumathi, reputed dancer, is well known in the field not only as a senior danseuse, but also as a choreographer and teacher. She has trained hundreds of students through her school, Nrityakala Mandira, during last 25 years and has choreographed a number of dance dramas.

With her troupe Bharatanjali, she has travelled all over the country and even abroad including the US, UK, Singapore and Malaysia. Naturally she has received a number of awards and titles. To name a few here, Akademi has conferred the title ‘Karnataka Kalashree’ and Rajyotsava award. Coming in the same lineage, Sheela Chandrasekhar is training young aspirants at the Nritykala Mandira for over 20 years.

One of their bright student, Sneha Harish, gave a Bharatanatya recital for the Every Friday Cultural Evening Programme at Yavanika Auditorium. A commerce graduate, she has won prizes in few competitions and has already performed both in and outside Bangalore. She is also learning music and has exhibited yoga, on different platforms.

The ‘Gajavadana Karuna Sadana,’ the popular invocatory piece gave Sneha a pleasant start. Sneha’s Bharathanatya recital made a better impact than many of the youngsters who figure in that series and it was sleek and compact.

In the Kamach varna (‘Bhuvana Sundarana Karethare’), she negotiated the jathies with ease and confidence and revealed a good grounding. She chose two compositions for Abhinaya. ‘Madhura nagari lo’ is a legendary song. The well known composition of Kanakadasaru ‘Bagilanu Teredu seveyanu kodo hariye’ enabled Sneha to depict episodes from the epics.

Endowed with such a lithesome, graceful figure, she performed the devaranama with ease and assurance, though the ‘Dyutha-Akshaya Vasana’ episode was over stretched. With some more higher training and stage experience Sneha can bring out the deeper stance impactfully.

The Thillana (Valachi – Dwaraki Krishnaswamy) seemed routine. With all that no doubt, Sneha Harish has a bright future in the years to come. She received a good support from the wings, consisting of Sheela Chandrasekhar (Natuvanga), Kartheek Hebbar (vocal), V Narayana Swamy (Mridanga) and Kartheek Sathavalli (Flute).

Homage to Gandhi

Gandhi Jayanthi was celebrated in a unique way at the Indian Institute of World Culture, on Tuesday.

It was observed as a ‘World Melody Day’ through a ‘Veena Mahotsava’ under the aegis of the Bharath Veenalaya, New Delhi. Padmabhushana Justice Dr M N Venkatachalaiah, former chief justice, inaugurated the festival by lighting the traditional lamp.

The Mohana Varna in different speeds gave Suma Sudhindra a bright start and it was followed by ‘Mahaganapathim Manasa.’ She chose the evocative raga Varali as the main item of her concert and chose another fine composition ‘Mamava Meenakshi.’ But thana and swara Prasthara – both were very brief, due to short of time.

She was supported on violin by Nalina Mohan, on Mridanga by B C Manjunath and on Ghata by S N Narayana Murthy. V G Subramaniam is a retired professor and an experienced artiste. But his Veena recital could not testify to that seniority. His selection of Paridana and few others were fine.

His Dasha Raga Malika varna set the tone for a steady pace and few compositions (Manavyala, Niravadi Sukhada) in ‘Drutha Kaala’ – were also presented in between, on his Veena, but he belied expectations.

Prashanth Iyengar, who hails from a musicians’ family is trying to evolve his own style.
He started his Veena recital with a self composed varna in the raga Gamanashrama, which gave his recital a delightful start. ‘Swaminatha Paripalaya’ brought nostalgic memories among the old timers.

Bindumalini Raga revealed ample flashes of his talent, though the sound was loud at times.

He concluded with a thillana (Dhanashree) and he showed his prowess aznd competence. Prashanth and Dayanand Mohithe accompanied on Mridanga and Ghata, respectively.

D Balakrishna, Prof P K Srivatsa, Revathi Sadashivam and Anuradha Madhusudhan also played Veena on the occasion.

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