Starting with Guru K.J. Govindarajan to Guru Kanaka Srinivasan to working under a Kalakshetra trained teacher and finally training under Prof. C.V. Chandrasekhar represents a variety of routes for any dancer. One must laud Uma Ramesh's performance at the Sivagami Pethachi auditorium for Brahma Gana Sabha, for its clear-toned dance, showing no confusion from being guided by a medley of Bharatanatyam schools.
Her movements, except for the head not always turning back for the hand stretched backwards in a straight line, were complete.
Starting with the Mallari in Gambhira Nattai, the recital moved on to the Dhandayudapani Varnam in Nattakurinji, ‘Mamogam Tane Meerude' after a viruttam sung in Kalyani describing the Lord of the Seven Hills.
The love-lorn nayika
The love-smitten nayika, who expresses her intense feelings for the Lord desirous of his presence, requests both his vahana, the Garuda, and even the snake in the forest to act as messengers, the latter declining, afraid of the eagle beside the Lord. Recounting the greatness of ‘Sreemaan,' the Lord who outwits ensnaring attempts, the heroine pleads with the sakhi not to make a fuss at such a time and to fetch the Lord.
Jyotishmati Krishna, a sensitive music composer, gave what was one of her best singing performances for the recital. Particularly moving was ‘Varugalamo' in Manji, where the abject loss of self-respect in the devotee who is treated by society as if he were a low caste man.
He is not entitled to enter the Chidambaram temple where he yearns to see the dancing Lord -- this was caught in the abhinaya beautifully. The timid question “May I enter, my Lord?” with the sorrow about his lack of a legacy of good deeds from the past, and the callousness of society and its discriminations, were captured in subtle flashes by the dancer.
‘Chaliye Kunjanamo' by Swati Tirunal in Brindavan Saranga came as a fine contrast, in the joyous tone of love with the nayika persuading Krishna to go with her to the Kunj where Nature beckons couples in love. Again the dancer performed with feel for the mood.
The thillana in Tilang ended with a viruttam prayer to Muruga. Leela Sukanya on the nattuvangam, Vijayaraghavan on the mridangam and Sunil Bhaskar on the violin gave able support.
