indradhanush 2010: 17th Jan update

This was followed by very well practised trained and talented artistes of Bharati Shivaji . The artistes Deepa Nair, Manjula form Indian and Priya from Russia performed with grace and lightness very typical of traditional Mohiniattam. After the first item on Lord Ganesha , Manjula performed the Ashtapadi with involved expression describing the state of Radha who wants to unite with Krishna. Her expression and involvement were both intense. The Mohiniattam recital was concluded by the Pandattam –meaning ball game by three friends It was refreshing to watch them play ball even with the audience. It was a thrilling performance

The next Dance Form to be depicted in the festival was Bharatanatyam by Nikolina Nikoleski. A Croatian by origin and disciple of Guru Saroja Vaidyanathan, Nikolina showered the stage with the flavour of Traditonal Bharatantyam. Nikolina’s graceful posture, poise, extremely balances karanas were the hall mark of the item of Shiva: “Bho Shambho” After this neerajakshi was a lilting and soothing piece followed. Her Thillana in Desh was precise and crisp.

We can Campaign Members took the stage next and communicated to the audience the importance of becoming part of the campaign to end domestic violence showed a film on the status of women in society and how they tolerate violence against women. They took a pledge from the gathering and ended their presentation.

The next presentation was a jugalbandhi between Bharatanatyam(Raghunandan) and Oddissi(Maanasi Pandya) who presented KALA SANGAM. It was very interesting and beautifully performed. The piece depicting Navadurga was breathtaking and the synchronization between the two art forms was beautifully balanced.

This was followed by the last presentation of the Festival ODDISSI. The solo element was performed by Amulya a young, energetic Oddissi dancer form Orrissa who had come all the way for the festival. His first presentation was Pallavi Devagandhari – A Nritya item with movements of lyrical race and musical syllables sung musically with synchrony. Amulya showed through his performance the beauty of male movements and beauty of forceful Oddissi movements. The choreography of Solo Odissi by Amulya- Guru Bichitrananda Swain The next item was Mahakalee stuti. The dark and furious incarnation of Goddess Durga was effectively shown through the movements of Oddissi by Amulya

The duet element of Oddissi was showcased by Ayona and Shaswati who had come from Bhuvaneswar to participate in the festival
The first item was SHIV-PARVATI SHABDA .
It is believed that Lord Shiva, in a moment of ecstacy, created the Tandava, the male form of dance, and his consort, Parvati initiated the Lasya or the graceful and delicate feminine style. Music Composition by Sri Ramahari Das -Choreography by Smt. Sharmila Biswas The artistes complimented each other beautifully and were perfect in their technique.

They then presented MEERA BHAJAN – Hari Tum Haro Jan Ki Peer–an abhinaya depicting three episodes where Lord Vishnu answers the prayers of his devotees and comes to their rescue. So beautiful and so forceful was the representation of this item that the audience response was intense. The scene of Draupadi cheerharn was overwhelming where Ayona played Shakuhni and Shaswati Yudhishtir. The next episode Prahlada Charitram was awesome especially in the Narasimha Avatar. In the Gajendra Moksham also their presentation was equally effective,

The festival ended with the felicitation of the artistes and a vote of thanks by Guru Smt Kanaka Sudhakar and a feeling among the audience that such festivals should be staged more often.