Aparna Vinod's performance had an accurate sense of timing and clarity of movement
A solo Bharathanatya performance by Aparna Vinod titled “Hari Haram” was held recently at the ADA Rangamandira, Bangalore.
The evening commenced with a brief pushpanjali set to Bhouli raga, and an exposition of “Adbhutha Silpiyadi” extolling the attributes of Lord Shiva, both of which served immediately to establish the artiste's competence and adherence to tradition. The focal point of the recital was the navaragamalika varna composed by Dandayudhapani Pillai, “Swamiye Azhaithodi Va”, featuring crisp, yet intricate choreography that was executed with assurance, finesse, and an accurate sense of timing and clarity of movement that were maintained in the accelerated pace of the charanam as well. The plight of the heroine, pining for Lord Shiva and incapable of devoting herself to anything else, was also conveyed succinctly.
The ashtapadi “Pashyathi Dishi Dishi”, preceded by the relevant shloka beginning “Atha Taam Gantum Ashaktaam” set to a soulful Sindhubhairavi, was an evocative portrayal of Radha languishing in her abode, as narrated by the sakhi to Lord Krishna. “Paranthamane Sharanam”, also a composition of Dandayudhapani Pillai in ragamalika, was a compact depiction of Lord Vishnu's Dasavathara. Punctuated with brief nritta segments, the item recalled each of the ten incarnations with a kaleidoscopic representation of emotions and events, and ending with a brief but powerful image of Kalki, enhanced by appropriate lighting.
A commendable flair for abhinaya was explicit in the dancer's interpretation of the Kshetrajna padam “Chudare”, set to Shahana raga and mishra chapu thala. Petty gossip, tinged with jealousy, inquisitiveness and self-righteousness, about the heroine's liaison and her apparent disregard for all social decorum, was narrated in an engaging and convincing manner. The celebrated pancharatna thillana in five ragas and adi tala provided a fitting finale to the performance, which attested to assiduous training, practice and dedication to the art. Sound basics and considerable histrionic ability could certainly be exploited to achieve even higher levels of excellence. The items presented, while adhering to the specified theme relating to Hari and Hara, were indicative of a repertoire suffused with classicism, a tribute to the artiste's mentors and gurus P. Bhanumathi, and Sheela Chandrasekhar who also wielded the cymbals for the recital.
Outstanding live orchestral support, provided by seasoned artistes, added to the overall impact in no uncertain measure. Bhava laden vocalisation by Balasubrahmanya Sharma was supplemented by mellifluous flute and veena accompaniment by Suryanarayanan and Shankar Raman respectively and the mridanga expertise of V.R. Chandrasekhar.
Keywords: Aparna Vinod.