The second afternoon’s lecture by V. And in the tarangam part the footwork balanced on the rim of a brass plate, kept to the prescribed rhythm but without its heightened quality of dramatic virtuosity. Sabda Nritya with sounds tam thai taka taki inda thai and Sabdaswarapatha appeal (music and rhythm inputs by Ramahari Das and Dhaneswar Swain) with Shiva’s ecstatic tandav dance counterpointed by Parvati’s lasya formed the centrepiece, Monami’s movements catching the two dance tones beautifully.A disciple of Pasumarthi Rattiah Sharma, Sreelakshmy Govardhan’s Kuchipudi also carried unusually soft abhinaya without a strident boldness. The daner has what it takes to be a stage performer and she must concentrate on bringing more measured quality with grace into her printed door mats dance. Sreelakshmi’s interpretative skills have an understated appeal – rare in this dance form. The Vigneshwara Stuti in Misra Behag, too began with too many Kavits robbing the item of quietude. With her supremely polished immaculate technique honed under two teachers Sucheta Chapekar and now Priyadarshini Govind, are scholarly attainments. Largely drawing on her training under late Guru Kelucharan Mohapatra, her accent was on the creative use of bhramaris for enhancing skills for kinetic moement and body transformation. Shweta began with the Kartikeya Kavutvam in Shanmukhapriya before going on to the Swati Tirunal varnam in Karnataka Kapi ‘Suma sayaka’.Devika, Founder and President of Aseema Trust (whose selfless work in bringing traditional performing arts into education, has not received deserved merit while titles galore go to several less deserving people) was most communicative. The dancer’s abhinaya , springing from an inner tranquillity, is not type caste. The dancer had an excellently evocative singer in Venkateshwaran whose ragamalika greatly aided the emotive impact of the Navarasa. The very large space of Kamaladevi Chattopadhyaya’s all-purpose hall was filled to capacity with participants.That talent scouting, if diligent, can still yield encouraging results was proved right from the start with Odissi performer Munami Nandi, a disciple of Sharmila Biswas. But does her dance have to be so dizzying in its speed, is what one would like to ask? In the blur, the defined quality and beauty of hand movements and body lines suffer- too fast to register on the audience mind. Kede chhanda Janilo sahi the Oriya lyric, perceived as narrated by an elderly person concerns Krishna’s Bala Lila in Bakasur Vadh, Pootana Vadh and Kaliadaman. And the Sanskrit ending Etad Ramayanam became Etadee.