‘World Dance Day’ was celebrated on April 29 by a host of dancers of different styles at Shilparamam’s amphitheatre. The event was organised by Paramparaa and Anubhav Centre for Performing Arts, in association with Shilparamam. Named ‘Prakeerti’, major attraction of the event was the performance of the gurus like Geetha Ganeshan, P. Ramadevi, Nayanatara Nandakumar, Guru Lakshman of Kalaripayattu and Aruna Bikshu. This entire programme was organised by Kathak artiste Sanjay Kumar Joshi and Kuchipudi and Vilasini styles dancer Anupama Kylash.
The first part was that of Bharatanatyam presented by Geetha Ganeshan and her team of four students. Geetha opened with Pushpanjali and Vinayaka sthuti tuned in raga Amruthavarshini, set in talamalika.
After this formal number Geetha danced to an astounding number, Karunakara Sri Venkatesa Karunatho Brova Inta Paraka , a fresh one penned by veteran guru Kollegal R. Subramanyam and set in raga Mohana. It was well dramatised and performed by her well-trained students Priyanka, Amrutha, Amulya and Aditi. This ended with ‘Padmavathi Kalyanam’, with Geetha playing this bride’s role. This was one of the most attractive shows of the event. She closed the show presenting popular Dhanasri tillana of Swathi Tirunal, giving it a different colour in group formations.
P. Rama Devi, for a change, rightly brought on to the stage less popular but rich in content age old ‘Golla Kalapam’ — a dialogue between an erudite Gollabhama and a Brahmin scholar. Rama used a pre-recorded track for the Brahmin’s voice while she played this Gollabhama. This laudable solo performance by Rama was a scholarly presentation.
Odissi dancer Nayanatara Nandakumar clubbed her dance with contemporary Kalaripayattu directed by guru Lakshman. Her movements are emotional and spiritual as well.
But the one presented towards the end by Aruna Bikshu and her students was unique.
She was professor in Central University of Hyderabad and worked on some some abstract presentations. CHAYA was one such project presented on this occasion, with a concept that spirituality grows beyond religion. And it discussed some metaphysical changes.
Chhaya is a reflection of longing and it was a synergetic narrative encompassing prose, poetry, lyrics, music, dance, design and lighting. It falls into the genre of ‘Eclectic Theatre’, Aruna explained. The musical part comprised of Kshetrayya Padams and compositions of Balamuralikrishna and Kailash Kher.
Two of her students were seen holding a rectangular frame moving it according to visual needs. Lalitha Sindhuri, Mahatoi Bikhu, Shanmukha Sivaprasad and Pradeep also took part in this.
