Rhythm reigned supreme in Rajeswari Sainath’s new work

Viswa Kala Pradarshana, presented astatine Bharatiya Vidya Bhavan, Mylapore, was an Indo–Australian collaborative accumulation that brought unneurotic Australian jazz, Carnatic euphony and Bharatanatyam. Conceptualised by Rajeswari Sainath and Vyshnavie Natya Centre, the evening was shaped arsenic a reflection connected unity, equality and shared humanity, drafting from the thought of Vasudeva Kutumbakam: the satellite arsenic 1 family.

The signifier statement mirrored this spirit. Musicians were placed connected some the close and near sides of the stage, forming a wide philharmonic frame, portion the dancers occupied the centre. This statement allowed euphony and question to prosecute constantly.

The opening piece, Vasantha Pravaham, Guru Karaikudi Mani’s landmark creation created successful 1985 for the Sruthi Laya Band, acceptable the code for the evening. Set successful Bahudari and Ranjani and structured crossed aggregate talas, the enactment surged with rhythmic vitality. The choreography responded with clarity, allowing Bharatanatyam’s lines and footwork to travel done changing laya patterns.

Ananda, composed by Suresh Vaidyanathan successful Charukesi, offered a softer, introspective contrast. It unfolded done measured movements. A modern rhythmic flavour emerged successful Dance of New Grand Mom, different creation by Suresh Vaidyanathan, utilizing konnakol wholly arsenic its lyrical basal successful Sankarabharanam. The enactment transformed spoken bushed into playful, grounded movement.

The jazz beingness became much pronounced successful Pentacle, composed by Adrian S. Western percussion and jazz phrasing introduced a antithetic rhythmic language, which the dancers navigated with easiness portion retaining Bharatanatyam’s halfway grammar.

A beardown rhythmic connection followed successful Thani, choreographed to the analyzable laya patterns of Guru Karaikudi Mani, featuring Tiruvalaputtur Kaliyamurthy. Here, robust percussion met choreographic patterns, with question shaped to bespeak groove arsenic overmuch arsenic structure.

Across the full production, bushed reigned ultimate highlighting however laya compositions tin heighten the impact.

The evening concluded with New Peace, a uncommon Sanskrit creation affirming the rule of Sri Satya Sai ‘Manava Seva is Madhava Seva,’ with the enactment ‘Lokha hitham mama karaneeyam’ forming its affectional core.

The dancers of the evening included Rajeswari Sainath, Geetha Gavvala, Sangeetha Gavvala, Meenakshi Murali, Kirthi Shree, Gayathri Yennuni and Nishika Madireddy, portion the musicians included B.V. Raghavendra Rao (electric violin), UP Raju (mandolin), Adrian Sherriff (shakuhachi and percussion), Tony Hicks (saxophone, clarinet and flutes), Suresh Vaidyanathan (ghatam and percussion) and Nagai Narayanan (mridangam), unneurotic shaping the conception