Home Entertainment Crisp footwork and poignant depiction marked the performances by Navyashree and Radhika Shetty

Crisp footwork and poignant depiction marked the performances by Navyashree and Radhika Shetty

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Crisp footwork and poignant depiction marked the performances by Navyashree and Radhika Shetty

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Navyashree K.N., disciple of P. Praveen Kumar presented her Bharatanatyam solo at the Nrityaagnan, Mangaluru.

Navyashree Okay.N., disciple of P. Praveen Kumar offered her Bharatanatyam solo on the Nrityaagnan, Mangaluru.
| Photograph Credit score: Particular Association

Nrityaangan, Mangaluru, had not too long ago organised two Bharatanatyam performances with the assist of the Karnataka Authorities’s Division of Kannada and Tradition. One was an beautiful recital by Navyashree Okay N, disciple of P. Praveen Kumar, and the opposite, an endearing emotional journey ‘Manushi – on a quest’, by Radhika Shetty, founder-director of Nrityaangan.

Navyashree made an immediate enchantment together with her crisp adavus, nimble footwork and fleeting facial expressions. The tasteful costume and jewelry enhanced the impact. She started with T.S. Kalyana Sundaram Pillai’s varnam in Kamboji, ‘Naadhanai azhaiththu vaa sakhiyae’ ( My buddy, go and produce my Lord). The love-lorn nayika is unable to bear the separation from Lord Muruga and wonders whether or not her lord’s coronary heart has changed into stone. Although she is indignant, she will be able to’t assist taking pleasure within the greatness of her Lord.

Navyashree’s depiction of the nayika’s passionate love, her longing and the pleasure she felt when she enumerated the good feats of her Lord, have been visually interesting. The attention-grabbing jathis, offered by swish steps and facial expressions, spoke extremely of the choreography.

‘Jagadhodhaarana aadisidhalu yashodhe’, the everlasting favorite of Purandaradasa, gave Navyashree immense scope for emoting, and the younger dancer reworked herself into the quintessential mom, exhibiting love, mirth, playfulness, adoration and amazement.

Radhika Shetty presented a thematic performance ‘Manushi - A Quest’ a the Nrityaagan, Mangaluru.

Radhika Shetty offered a thematic efficiency ‘Manushi – A Quest’ a the Nrityaagan, Mangaluru.
| Photograph Credit score:
Particular Association

On a quest

For her thematic presentation ‘Manushi – A quest’, Radhika Shetty, depicted the everlasting search of 4 ladies (certainly one of them is a river), born out of their unfulfilled wishes and longings, however constantly backed by a robust will.

Radhika started with the journey of River Saraswati, as soon as often known as the cradle of Vedic tradition, which mysteriously dried up and got here to be referred to as ‘Gupta Gamini’ (the one who strikes secretly, with out being seen by anybody). Radhika depicted with nice feeling an alive Saraswati in her halcyon days and her current, insignificant standing. She concluded the episode questioning whether or not Saraswati is alive or not? One may really feel a lump within the throat as the story of the colourful river resulted in a query mark. Arjun Bharadwaj’s lyrics, enlivened by rhythmic inputs by DV Prasanna Kumar, got life by Rohith Bhat Uppoor, who sang it appropriately within the raga Saraswati.

Subsequent, Radhika portrayed Meerabai’s unquenchable want for Krishna by three bhajans. Meera begins praising the virtues of Hari, ‘Hari gun gaavat naachoongi’, however when Hari doesn’t seem regardless of an extended wait, she turns into pissed off and begins questioning why she cherished Him in any respect (Tum sang kaahe peeth lagaayee). However, she can’t be indignant and detached for lengthy. Lastly, she surrenders to Him (Mhe Tho Charan Lagee Gopal). Did Meerabai discover solace? Solely she will be able to inform. Radhika reworked herself into Meerabai, in her devotion, frustration and whole submission.

Then, it was time to journey with Devaki, who’s Krishna’s organic mom. When Devaki sees Krishna as a grown-up younger man, she realises that she by no means had the great fortune to deal with him as a toddler and all that pleasure was skilled by the divine girl, Yasodha. She considers herself the final of all moms (‘Thaayaril Kadaiyaayina Thaayae’). She additionally feels unhappy that Krishna identified to Nandagopa (Nandhan petranan nalvinai) as his father and never Vasudeva. She calls herself the unlucky sinner who couldn’t expertise the enjoyment of Krishna’s childhood (‘Pillaimaiyinbaththai izhandha paaviyaen’). However, in all these, there’s solely the sense of deprivation, not jealousy. Radhika introduced out Devaki’s ache and the sense of loss by her intensely-emotional depiction.

The stanzas picked from Kulasekara Azhwar’s ‘Perumal Thirumozhi’ (part of ‘Nalayira Divya Prabandham’), set to music by Sudha Raghuraman, graphically described Devaki’s sorrow and added poignancy to Radhika’s presentation.

Radhika concluded her ‘quest’ with the portrayal of the devotion of Akka Mahadevi by a few of her choose vachanas, incorporating them in a thillana. Akka Mahadevi’s fixed want to be united with God led her in the direction of liberation. This part had rhythmic inputs by Vidyashree Radhakrishna.

Rohit Bhat Uppoor sang with involvement, totally conscious of the impression of the lyrics in varied languages. Vidyashree Radhakrishna’s nattuvangam, Vinay Nagarajan’s mridangam and Nithish Ammannaya’s flute got here collectively, making Radhika’s presentation, a memorable one.

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