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Follow us:WhatsappFacebookTwitterTelegram.cls-1{fill:#4d4d4d;}.cls-2{fill:#fff;}Google NewsMagic of music combined with intricate dance moves sent the audience at the RV College Dental college auditorium into raptures and drowned them in an ocean of laughter. An experienced dancer (well versed in Bharatanatya, Kuchipudi natya and Kathak) and choreographer, Guru Ashok Kumar was the person behind the show. The occasion was his Natyanjali Trust’s completion of twenty five years. The silver jubilee that features some of his students in the Marga items had some interesting dance drama performancesIn the programme under review, his choreographic skills radiated with success and his latest piece Bhagavadajjukam was a great hit and was a treat for the audience. Bodhayana’s ‘Bhagavadajjukam’ is a Sanskrit farce presented in different media and languages and has so far regaled thousands of rasikas.Guru Ashok Kumar aptly made it more theatrical besides adapting different dance forms. He definitely scored some good marks here. The lyrics by Shatavadhani Ganesh, music by Praveen Rao and choreography by Guru Ashok Kumar were the live wires of the dance drama.It revolved around the transformation and transmigration (Parakaya Pravesha or the process of the soul entering another’s body) of souls causing ceaseless ripples of laughter. Bhagavad (the sage) Parivrajaka, (Guru) and Ajjuka (courtesan) along with the disciple of the Guru (Shandilya) are main characters. The fickle minded disciple Shandilya is infatuated with a courtesan called Vasanthasena. He thinks of her even in the teachings of his Guru. Meanwhile the Yamadootha (messenger of the God of Death, Yama) wrongly takes away the life of Vasanthasena . Shandilya pleads and ultimately challenges his Guru to bring her back to life with yogic powers.To convince his disciple, the Parivrajaka proves his mettle by making his own soul enter the body of Vasanthasena. But lo! now Vasanthasena behaves like the Parivrajaka.As a result, Shandilya, her mother and her maid are taken aback. After realising his mistake the Yamadootha comes back and witnesses the happenings. To have more fun, he puts Vasanthasena’s soul into Parivrajaka’s body. Due to this the Parivrajaka starts behaving like Vasanthasena and he flirts with Shandilya evoking laughter. Even her lover is perplexed. Finally, Yamadootha comes to the rescue and puts an end to the whole situation by restoring the respective souls.The theme was tidily executed with apt lighting, characterisation and strong build up of bhava and hasya rasa. The choreography proved to be a vehicle for the well designed sets as well as the dancers most of whom were cast well .Earlier, in a group presentation, Guru Ashok’s disciples saluted Lord Ganesha on the basis of ‘Prabho Ganapathe’ (Tillang raga). Ashok’s competence in choreography was in full view.The Jathiswara (Hamsanandi) presented at a brisk pace was a veritable tour de force of the dancers. The delightful entries and exit of the dancers and the nadais were a visual treat. The choice of Papanasham Shivan’s krithi on Devi ‘Neevathunai’ (Keeravani) was especially felicitous in Ashok’s fluid choreography.Perfect synchronisation by Guru Lalitha and team:In a worth emulating programme Guru Lalitha Srinivasan of Nupura performed Guru vandana for her Gurus Jejamma, Dr K Venkatalakshamma and H R Krishnamurthy at Khimcha auditorium, Bhavatiya Vidya Bhavana on Sunday. She reminisced her interactions with those Gurus.This was followed by a tidy Bharatanatyam performance by her disciples. Srividya Somayaji, Jesil D Shet and Sahana Dasharathi opened the dance performances with a Ganesha stuti and Poorvarangavidhi.The taut nritta and neck movements were in place and was indeed a pleasure to witness.Aruna Gangadhar, Sharanya Vasu and Jesil delineated the jathis and aduvus of Devamanohari jathiswara with elan and perfect synchronisation. Selection of Huseni swarajathi (E mayalaadura Saami) was interesting and a welcome choice. Sahana and Srividya were in their elements in negotiating the nritta, nrithya and abhinaya.The famous Neelam-bari krithi ‘Shringara lahari’ describing the greatness and beauty of the Devi was beautifully enacted by Aruna and Sharanya. The chittaiswaras attached to it were artistically turned into a fine nritta. ‘Brochevarevarura’ (Khamach) had both scintillating nritta(for chittaiswaras) and abhinaya. The evening concluded with a tillana set to Hindola rendered by Aruna and [email protected] published:January 01, 1970, 05:30 ISTlast updated:January 01, 1970, 05:30 IST
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Magic of music combined with intricate dance moves sent the audience at the RV College Dental college auditorium into raptures and drowned them in an ocean of laughter. An experienced dancer (well versed in Bharatanatya, Kuchipudi natya and Kathak) and choreographer, Guru Ashok Kumar was the person behind the show. The occasion was his Natyanjali Trust’s completion of twenty five years. The silver jubilee that features some of his students in the Marga items had some interesting dance drama performances

In the programme under review, his choreographic skills radiated with success and his latest piece Bhagavadajjukam was a great hit and was a treat for the audience. Bodhayana’s ‘Bhagavadajjukam’ is a Sanskrit farce presented in different media and languages and has so far regaled thousands of rasikas.

Guru Ashok Kumar aptly made it more theatrical besides adapting different dance forms. He definitely scored some good marks here. The lyrics by Shatavadhani Ganesh, music by Praveen Rao and choreography by Guru Ashok Kumar were the live wires of the dance drama.

It revolved around the transformation and transmigration (Parakaya Pravesha or the process of the soul entering another’s body) of souls causing ceaseless ripples of laughter. Bhagavad (the sage) Parivrajaka, (Guru) and Ajjuka (courtesan) along with the disciple of the Guru (Shandilya) are main characters. The fickle minded disciple Shandilya is infatuated with a courtesan called Vasanthasena. He thinks of her even in the teachings of his Guru. Meanwhile the Yamadootha (messenger of the God of Death, Yama) wrongly takes away the life of Vasanthasena . Shandilya pleads and ultimately challenges his Guru to bring her back to life with yogic powers.

To convince his disciple, the Parivrajaka proves his mettle by making his own soul enter the body of Vasanthasena. But lo! now Vasanthasena behaves like the Parivrajaka.

As a result, Shandilya, her mother and her maid are taken aback. After realising his mistake the Yamadootha comes back and witnesses the happenings. To have more fun, he puts Vasanthasena’s soul into Parivrajaka’s body. Due to this the Parivrajaka starts behaving like Vasanthasena and he flirts with Shandilya evoking laughter. Even her lover is perplexed. Finally, Yamadootha comes to the rescue and puts an end to the whole situation by restoring the respective souls.

The theme was tidily executed with apt lighting, characterisation and strong build up of bhava and hasya rasa. The choreography proved to be a vehicle for the well designed sets as well as the dancers most of whom were cast well .

Earlier, in a group presentation, Guru Ashok’s disciples saluted Lord Ganesha on the basis of ‘Prabho Ganapathe’ (Tillang raga). Ashok’s competence in choreography was in full view.

The Jathiswara (Hamsanandi) presented at a brisk pace was a veritable tour de force of the dancers. The delightful entries and exit of the dancers and the nadais were a visual treat. The choice of Papanasham Shivan’s krithi on Devi ‘Neevathunai’ (Keeravani) was especially felicitous in Ashok’s fluid choreography.

Perfect synchronisation by Guru Lalitha and team:

In a worth emulating programme Guru Lalitha Srinivasan of Nupura performed Guru vandana for her Gurus Jejamma, Dr K Venkatalakshamma and H R Krishnamurthy at Khimcha auditorium, Bhavatiya Vidya Bhavana on Sunday. She reminisced her interactions with those Gurus.

This was followed by a tidy Bharatanatyam performance by her disciples. Srividya Somayaji, Jesil D Shet and Sahana Dasharathi opened the dance performances with a Ganesha stuti and Poorvarangavidhi.

The taut nritta and neck movements were in place and was indeed a pleasure to witness.

Aruna Gangadhar, Sharanya Vasu and Jesil delineated the jathis and aduvus of Devamanohari jathiswara with elan and perfect synchronisation. Selection of Huseni swarajathi (E mayalaadura Saami) was interesting and a welcome choice. Sahana and Srividya were in their elements in negotiating the nritta, nrithya and abhinaya.

The famous Neelam-bari krithi ‘Shringara lahari’ describing the greatness and beauty of the Devi was beautifully enacted by Aruna and Sharanya. The chittaiswaras attached to it were artistically turned into a fine nritta. ‘Brochevarevarura’ (Khamach) had both scintillating nritta(for chittaiswaras) and abhinaya. The evening concluded with a tillana set to Hindola rendered by Aruna and Sharanya.

[email protected]