Bhavajan Kumar’s performance was backed by good music

Feb 7, 2024


Bhavjan Kumar performing at the Sangeet Academy's dance festival on January 7, 2024.

Bhavjan Kumar performing at the dance function of the Sangeet Academy on January 7, 2024 Photo courtesy: Ragu R

Bhavajan Kumar, a disciple of Leela Samson and Jyotsna Narayan, proved himself as a promising Bharatanatyam artiste at the Sangeet Academy's dance festival. He is decent despite apparently not being so. There is a quiet dignity in his dancing.

'Ananda Natan Prakasam' (visuals by Kedaram, Mishra Chapu, Muthuswamy Dikshitar, Leela Samson) sparkled with ensembles, with both dynamic and quiet moments. The beauty of the slow singing, especially the Charanam, added to the charm.

Bhavjan Kumar performing at the Sangeet Academy's dance festival on January 7, 2024.

Bhavjan Kumar performing at the dance function of the Sangeet Academy on January 7, 2024 Photo courtesy: Ragu R

In the padavarnam, 'Samiyai Azathody Vaa' (Navaragamalika, etc., imagined by KN Dandayuthapani Pillai, Leela Samson), the Trikala Jathi was unusual – there were hardly any steps in the Vilamba art, the dancer paused in the kudichi mettu adavu for several counts, and The third segment included a lot of jumps. Thermanam was one or two avarthan too long. Bhavajan's agility and good sense of timing defeated him. The second group with cross rhythm was also unusual. This performance gave equal attention to music and dance.

Girish Kumar played cymbals, which felt a little high pitched, G Vijayaraghavan was on mridangam, Praveen Kumar was on vocals, KP Nandini was on violin and Sujit Naik was on flute.

Bhavjan Kumar performing at the Sangeet Academy's dance festival on January 7, 2024.

Bhavjan Kumar performing at the dance function of the Sangeet Academy on January 7, 2024 Photo courtesy: Ragu R

Bhavajan's expression lacked clarity in some parts. The philosophical kirtanam, 'Nanati Baduku Natakamu' (conceived by Revathi, Adi, Annamacharya, Shantha and VP Dhananjayan) was a difficult subject to handle, but Bhavajan made a valiant effort.

As the program progressed, Bhavjan's dancing diminished. He concluded with the Eastern Swaranjali (Rupaka, Tirugokarnam Vaidyanatha Bhagavatara) conceived by Leela Samson. This piece predates Thilana, and has colors and animals corresponding to each note.

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