China turbine flowmeter friend Asaduddin Owaisi

If we can win 17 seats from Telangana, we (TRS) 16 and our China turbine flowmeter friend Asaduddin Owaisi (AIMIM) will anyway win Hyderabad (Lok Sabha). Then followed all the intra-forms of thaat, angik uthan, paran amad, ginti tihai, revolving round the number six, and tukras pertaining to tisra, chatusra and misra combinations, all characterised by neat chakkars and footwork. The concluding Gita Govinda Ashtapadi "Sakhiye keshi mathanam udaram" for a Maha Shivaratri occasion seemed out of place in the portrayal of abhisarika Radha expressing her deep desire for Krishna, recapturing with the sakhi her ecstatic moments of initial intimacy with him. The solo percussion interventions by both drummers were excellent. The festival of Maha Shivaratri becomes an especially auspicious occasion for many dancers to pay homage to the Lord of Dance.

 In one teermanam link between interpretative passages, when the nattuvangam could not find the necessary flow, the dancer, in complete control indicated through her graceful sign language that the segment be repeated, and so it was. The next central composition on Shiva followed by the tarangam, a ragamalika, was choreographed by the dancer’s Guru, Moselakanti. The drut section went on to teental presenting an udaan, harimirchi ki paran and gat nikas in which the dancer’s gait was less important than hands showing playing instruments like the flute, the pakhawaj, the sarangi and the manjira. Following this, performed with great involvement were passages depicting the epithets of Shiva like "umapati", "pannagabhooshanam", "trinetram", "mukundapriyam", etc — all portrayed with the combined skill of nritta and abhinaya with the concluding "anandanatanavinoda" emphasising the ecstatic splendour of the Lord’s dance.

 The competent musical team with tablist Mohit Gangani and Pakhawaj played by Ashish Gangani had Mahendra Songram as vocalist. The iconic representation as a metaphor for the entire cycle of cosmic activity comprising creation, sustenance and destruction, has inspired a great deal of dance imagery in India. Trained under many gurus like Swapna Nagajyoti, Anuradha Nehru (in the States) and Swapnasundari, Amrita has been for the last few years under the guidance of Jaikishor Moselakanti. It just is, since the universe is in a perpetual state of motion. The lively performance brought out the imagery associated with Lord Shiva and Ganga in his matted locks, as the great dancer of Chidambaram and the dweller of Kailashagiri with Uma or Girija by his side. But the general apathy makes a sad commentary on audience responses in general.