Ganabharathi had recently organised two Bharatanatyam recitals which showcased two young, dedicated artistes. Dance is the means of expression to both of them. It is a part of physical, mental and spiritual journey.

Both are accomplished  performers, choreographers and committed teachers. Surabhi Bharadhwaj, who is settled in California, is an all-rounder. She has been honed by many Vidwans like Radha Sridhar, K.M. Raman, B. Bhanumati and has undergone ‘Karana movements’ training from Dr. Padma                               Subramanyam.

The other dancer Bhramari Shivaprakash is a disciple of Guru K.B. Madhava Rao and Dr. Vasundhara Doreswamy.

Surabhi performed on the 21st of June 2024 at the Veene Seshanna Bhavana accompanied by Harshitha  Vidya (Vocal), D.V. Prasannakumar (Natuvanga), Vinay Nagarajan (Mridanga) and Pradesh Achar (Violin). Surabhi is blessed with a slim and flexible body which she utilises to its maximum capacity.

Most of the items she presented on that day were choreographed by herself. Her quest for perfection, the classicism and individuality were the key notes in her choreography. ‘Shrimannarayana’ (Raga-Bhowli) was the opening which portrayed Dashavatara. Ramaswamy Dixitar’s ‘Roopamu joochi’ was a Pada varna, set to Todi Raga which had Samudramathana and the story of Bhaktha Markandeya in its sanchari.

‘Kanjadalaayatakshi’, the famous kruthi of Muthuswami Dixitar in Kamalamanohari was very well presented. The beautiful description of divine Kamakshi was absorbing. Surabhi is perfect in her foot work as well as abhinaya. This was evident all through the concert. The Abhang ‘Rukule Maajha’ and Ashtapadi ‘Naatha hare Jagannatha hare’ proved her versatility.

Mysore Vasudevacharya’s ‘Shree Chamundeshwari,’  Choreographed by Parshwanatha Upadhyaya was crisp and the lively Thillana in Varamu brought the curtains down. The wonderful support by all the co-artistes deserve an applaud.

Kumaravyasa Nritya Bharatha

Bhramari Shivaprakash is another accomplished performer who is committed to art. She is known for her thematic presentations. One of them is exploring various literary works through the media of Dance. On the 4th of July, she presented ‘Kumaravyasa Nritya Bharatha’, a pure classical ‘Margam’ recital backed by Kumaravyasa’s poetry.

 Kumaravyasa Bharatha or ‘Karnata Bharatha Katha Manjari’ is a popular Kannada  literary work depicting the epic Mahabharatha which is meant to be read or recited.

Adopting this kind of magnanimous work which is in ‘Bhamini Shatpadi’ to a ‘Pushpanjali’, ‘Swarajathi’, ‘Shabdam’ or a ‘Padavarna’ is unbelievable or thought-provoking. But Bhramari is always open for such challenges. She proved it in her two hours performance. The selection of situations, suitable poems which are all metered requires thorough knowledge of the original work, music , dance and good choreography. Above all, the confidence of presenting it in Margam style. Bhramari did justice to all these and won the hearts of rasikas.

‘Shree Vanitheyarasane,’ the famous opening poem of Kumaravyasa Bharatha was selected for Pushpanjali, in which she paid her respects to Lord Ganesha, Sri Krishna and Vyasa Muni. For Swarajathi, she had chosen the scene of Bheeshma praising Sri Krishna ‘Krishna kripa vilasava nodirai’ in Arabhi. The childhood and  developing enmity of Bhima-Duryodhana was the subject of Shabdam. ‘Olage beledudu vairashikhi’, sung  in Kambodhi, Athana and Des was a perfect choice. The Padavarna form came alive in the shringara of Bheema and Hidimbe, tuned to Rasikapriya  and was beautifully presented.

Keechaka -Draupadi prasanga was in a dialogue form in Mohana Kalyani. Added to it was Krishna sandhana. This was for Pada-presentation. The concluding mangala was Gandhari’s sorrow.  Her agony of losing all her children, her hardship, misery, suffering came alive in Bhramari’s abhinaya. She was not only immersed in the situation but carried the audience too along with her.

Such was the power of her involvement. A big chunk of appreciation must go to the rich and vibrating voice of Chandrashekara Kedilaya. To sum up, we need such experiments to keep our heritage and culture alive.

—Dr. Rama V. Bennur