dance to please

Bharatanatyam of Radica Giri of habitat India, in view of her stage presence and basic technical foundation, internal fire alchemy is needed to go beyond formal prescriptions.
Teaching at Anjali dance school in Saratoga, Radica\'s performance in India was after a long pregnancy after training for Vazhuvoor veteran K. J.
Sarasa works with Kalakshetra and Pandanallur banis.
She\'s under A now.
Lakshman Nai.
Vachaspati\'s varnam demonstrates the necessary style and the basis for interpretation, conveying nayika\'s love for Muruga.
But more visceral involvement can trigger the desire of the charanam line \"Tedinen sendil kanamal vadinen\", urging sakhi warmly to convey her to Muruga
Radica\'s nritta is a bit tentative in the opening Pushpanjali, and is more assured in varnam jatis, although her jump and \"arudi\" boom can be larger
The evening project is the Brindavani \"Chaliye Kunjaname\" of Swati Tirunal, where dancers become persuasive nayika, urging beloved people to go to the garden, nature and
People are not quite sure about the choice and interpretation of the next Dandayudapani pailly Padam, who shows the experienced women of Love (Samanya nayika)
Arrogantly assert that no matter who knocks on her door, she will only entertain that person with money.
The last moment is in the Tillana Kapi of madulai srinode.
With the increase of performance experience, Radica will continue to develop.
Although Sudha Raghuraman\'s exquisite alap cameo in Brindavani, the music volume needs to be lowered and the only soft touch is Lakshman\'s bass clarity in nattuvangam
Rainbow of young talent-
The day festival \"indradhanush 2010\", launched by Sunaina to showcase young talents in all forms of dance, is a commendable effort to bring young people together all over the country
Kanaka Sudhakar provides a highly motivated high school student, Tillana, to start the program of Dai Shi raga.
However, the final action of spreading petals throughout the stage needs to be removed with a piece of cloth to avoid the next group of people stamping the pious offer.
Good training performance in good cooperation
Coordinate the beautiful Mohiniattam trio, all believers in rural development of Shivaji.
The subtle explanatory charm of Manjula is a mature talent that finds the range in Jayadeva Ashtapadi \"Lalita Lavangalata\", \"nrity 5,7 and 9 syllable combinations, provides a good nritta digress for abhinaya-based projects.
Russia-based Priya\'s sundari neck movement requires more subtleties, and Deepu Nair\'s cleaning technology will benefit from the sport fun that a too serious dancer seems to hide.
The three endings of pandam (ball play)
With the Vivid ups and downs as a symbol, let the whole audience participate in the animation.
Croatian dancer Nicola Nicolas Ki, a student of Saroha waidayanathan, gave her the tone of her artistic gymnastics and contemporary dance background at Laban High School
Her alamadi play became \"mukamadi \"(
Squat in the third quarter instead of half-seated)
And her \"veeshara adavu \"(
Legs raised at right angles to shoulders)
Become oordhva tandava adavu (
The legs were raised vertically in a straight line, and the toes almost touched the forehead!
Her heel needs to be clear.
She uses the soft expression, and uses the feelings of the words to interpret the padam on Krishna\'s \"nealja Dara Nayana.
The Jugalbandi, the brave effort with Raghunandan pantia dance and Mansi is (
Disciple of Pradhan gangdaha)
Odissi tends to be a form of synchronicity, an interactive dance associated with another absence.
The rhythm of Khanda is made of \"sivighnarajam Odissi Bhaje\" and some Odissi ukkuta patterns are made to order the movements of the pohardo dance.
Amulya Balabantray\'s excellent training in Odissi Devagandhai Pallavi.
The disciple of Bichitra Swain and Gangadhar Pradhan et al is a skilled dancer who pays tribute to Devi despite the lack of diversity in passion.
Streamlining the abdomen can make his dance more visually beautiful.