Veteran Vyjayanthimala Bali’s Bharatanatyam performances stand out for her affinity to classical values. In line with this conviction, ‘Sri Krishna Jananam,’ a thematic presentation comprising excerpts from Srimad Bhagavatham, resonated with her cumulative experience and the power of her artistic intellect.
Despite advancing years, one could only marvel at the straight backed stance and the sophisticated delineation for which she is so acclaimed. The wonder of Sri Krishna’s birth was captured through a mellifluous combination of music and dance.
Sage Suka’s words in the verses and a variety of ragas such as Khambodi, Saveri, Sahana and Anandabhairavi created an effervescent quality of flowing visuals. Vyjayanthimala depicted the astronomical placement of the sky at the time of the divine arrival and subsequently, the beauty of Nature, with lucidity. Well intuited singing mingled with the dancer’s actions like nippy hastas to portray the star-studded sky or the wavy movements to represent the river. The predominance of abhinaya reinforced the bhava.
There was no denying the stiffness in the knees of the senior artist at times but this was swept away by her expressive attraction. In a brief pose, Devaki was presented with all the pain undergone by her reflected in her eyes just before that magical moment of childbirth. Devaki’s query to the Lord as to the reason for the Omnipresent One to be born from the confines of her womb, was handled in an aptly dramatic mode.
The RTP format in Kharaharapriya credited to the doyenne D. K. Pattamal, had been structured like a varnam and proved the artist’s resilience. Notwithstanding a wavering in the first jati, Vyjayanthimala moved on with aplomb. Tackling the phrase in three parts, the dancer brought alive the relevant anecdotes. She conjured up the dust strewn cloud wrought by the cows’ hooves that settled on Krishna’s curls and linked it with his dalliance with the beautiful gopikas. The miracle of lifting the Govardhana mountain was another picturesque depiction.
The indomitable spirit of the dancer manifested as the crisp swaras progressed alternating with the refrain. The audience watched as the physical limits of age melted and the sequences of adavus were tackled with an alacrity that made the bodylines strong and true. Her face glowed with youthful zeal, the singer sang with renewed vigour, the flautist trilled with sensitive notes and the splendour of Krishna’s avatar became a tangible thing for the rasikas to feel.
The orchestral team’s efforts of Anahita Ravindran’s crystal clear vocals, Guru Bharadwaj’s ‘pucca kalapramanam’ on the mridangam and Sruti Sagar’s wonderful flute sojourns enhanced the Bharatanatyam.
Vyjayanthimala got a standing ovation at the premiere for Bharat Kalachar .
