An evening of nostalgia and Exquisite dance

An evening of nostalgia and Exquisite dance – Usha Rk

The concluding sessions of the Ananya Nritya Neeranjana Dance Festival  2012 featured Odissi by Vandana Supriya and Bharata Natyam by Sathyanarayana Raju also the recipient of the “ANANYA PURASKARA’ for 2012.

Vandana Supriya an alumni of Nrityagram reminded me of her guru and my very dear friend Protima Gauri. While I was the Honorary Secretary of Nrityagram Vandana must have been a small child, infact I could not recollect this young girl, she reminded me and there was this surge of joy and pride that she has emerged from that dream of Protima’s. Vandana presented four items beginning with an invocation to Lord Rama describing his valour, his dignity and attributes. Guru Kelu babu as we fondly addressed him was a genius and his choreography exhibited awe inspiring visual beauty totally evident in the items that Vandana performed.

The Vasanta pallavi too was a synthesis of grace and movement, extremely supine yet firm in the postures leading to a comfortable pace. The inclusion of postures strung through the melodic body movement was a joy to watch.

The classical style of Odissi as created by the visionary Kelu babu combined staccato beats and lyrical movements which resulted in a melodic body language that is adorned with the “S” like beautiful movements.

Vandana presented an interesting Krishna Radha compostion that was vibrant. This was composed by Sarita Misra were adeptly.

Most Odissi recitals conclude with the Moksha paying obeisance to the Mother Goddess, vandana depicted the various roopas of the goddess.

The performance left me reminiscing about my days at Nrityagram with Protima. Vandana Supriya probably needs more opportunities that will bring her on the national stage.

A dancer with humility in his armour:

Ananya Bengaluru presented the “Ananya Puraskara” to Dancer & Guru Sathyanarayana Raju. The luminaries on the stage included Dr. Choodamani Nandagopal, Minal Prabhu, Lata Pada , Dr. Satyavati and Dr. Maya Rao who came to bless her disciple.

Sathya has had the good fortune of training under some very conscientious gurus like Late Smt. Narmada, Dr. Maya Rao and Bhanumathi. His initial training was under Subhadra Prabhu. It is his single minded devotion and hard core practise that has rewarded him with these accolades and awards. Sincerity towards the art form, gratitude to the Guru, a sense of loyalty to the form and guru and above all HUMILITY are the ingredients that can help you reach the top. Through this journey of climbing there will be times of despair but focus on the aim and goal will make you rise and move on. Sathya has many a time shared his moments of despair and how he gathered himself to rise and fly again.

Success always adorns those who approach it with gentleness and humility and this I found in Sathyanarayana Raju. His dancing too reveals this divine side of his especially when he portrays episodes from mythology.

The luminaries present spoke of the wonderful experiences they had in their collaborations with Sathya.

The award ceremony was followed by his solo recital. Short yet an unabridged version of the pandanallur bani resplendent with the unique upper body fluidity, ample of muzhu-mandi adavus, the vaiyara nadais and the optimising the full stage with speedy movements and walks in the second half of the varnam and the thillana Sathya certainly made his gurus proud.

The ashtaragamalika varnam Sami nine korinanu ra in roopaka talam is a challenge for any dancer more so for a male dancer since it is a predominantly a nayika bhava varnam. Sathya executed the jathi patters with firmness keeping the original choreography intact. It was the traditionalistic approach and the simplicity of the patterns that impressed.  Though, it was the delineation of the shringara between the nayika and Lord Brihadeshwara that was the highlight of the Varnam. Subtle sanchari that was exquisitely dignified not only in the facial expression but in the body language too raised the execution of the varnam to a different level. In entirety the varnam was a joy to watch.

The heart wrenching pathos of Saint poet Ramadasu in the keertana Ye tiruga nannu daya chuchedavo brought a tear to many an audience. It is uncommon for a Bharata Natyam repertoire to include a Ramadasu krithi which are found usually sung on the Carnatic Kucheri platform. The choreography was adept and appropriate selecting two very moving episodes from the life of Rama, the feelings of the boatman Guha and darshan to the ultimate devotee Sabari. Bhakti is a rasa which if performed with complete surrender can touch the audience.

The evening concluded with a thillana in ratipatipriya raga embellished with the beautiful meyyi adavus, the flowery circular movements and the melodic sahitya in praise of Krishna.