Nataraj Music and Dance Academy hosted its Eighth edition of four-day annual Vysakhi Nrityotsav on an impressive note at Kalabharati Visakhapatnam. Unlike in its earlier editions where the artistes were given just a slot of ten to 15 minutes, this edition saw the artistes perform for full length for more than one hour each. This welcome departure from its previous template offered enough duration for both the artistes and dance lovers for presentation of artistic talent and its appreciation.
Each of these of sessions was a memorable one for its rich presentations in its respective style of dance. The artistes being seasoned ones, every frame evidenced their rich experience in exposition of the piece taken up. The event, in short, was a celebration of Indian classical idiom of dance in its different styles. Exponents of Kuchipudi, Bharatanatyam, Odissi, Mohiniyattam, Manipuri and Sattriya brought forth the rich and varied nuances of their respective dance forms letting the dance lovers enjoy its multi-dimensional splendour.
The fest opened with Bharatnatyam performance by Saroja Vaidyanathan that showcased the grace and grandeur of this style in a vivid manner. In the Odissi segment on third day renowned Sujatha Mahapatra stole the show. Her scintillating performance stood out for its aesthetic richness both in expressive fluidity and footwork.
Her uncanny precision in execution of intricate chorographical floor designs spoke of her enviable command over idiom of Odissi. Her presentation of Jatyauvu was remarkable on several counts. Alluring verses and haunting music score that employed appropriate ragas reflecting the mood of flowing narrative apart, the way she depicted varied nuances was awesome.
This episode from the epic Ramayana found a superlative treatment in the choreography of legendary Kelucharan Mahapatra, which she performed with panache. The different moods of emotion ranging from courage, pathos, buoyancy, joy – each as per the demands of the narrative stood well-delineated in detail. Her artistic ability to lend a lasting expression to subtle and soft shades of emotion was noteworthy.
In the same segment on second day Deepak Roy and his team presented a string of pieces with verve. It commenced with traditional invocatory warm up ‘Mangalacharan’. Nachanti Range Srihari was about ‘rasa leela’ of Lord Krishna in Brindavan and then came Jayadev’s Ashtapadi Chandanacharchita dealing with Lord Krishna’s divine play. Sthayee and Megh Pallavi were other highlights of this session.
Sunanda Nair’s Mohiniyattam sparkled for its gracious and alluring presentation. It began with an invocatory in praise of Lord Ganesha. Madhurashtakam sought to depict the beauty of Lord Krishna’s childhood pranks and then His matchless attributes as a true friend who came to rescue Sudama from abject penury and Arjuna in battle field. Kubja and Jeeva were other noteworthy pieces in her presentation.
Kuchipudi performances by Sailaja and Bathina Sisters, Manipuri by Lokendrajit, Sattriya by Mallika Kandali delighted the dance lovers in good measure.
On this occasion, Mutta Srinivas Divakar’s photo exhibition of Indian Classical Dances was an additional attraction to the event. Well-captured portraits in different dance forms stood out for its aesthetic appeal in the exhibition.
