Marking the 56th Annual Art festival of South Indian Cultural Association being held at Ravindra Bharati, Bharatanatyam exponents Rajeswari Sainath and her daughter Vyshnavie, gave a scintillating performances on the second day of the festival and called it ‘Spectrum’ for it had non-Bharatanatyam numbers too relating to contemporary martial art events. If we look at its total impact, Bharatanatyam of course had major appeal, while this addition of contemporary part was entertaining, for, it was Vyshnavie, who strenuously underwent training in Kerala and New York, who became the central figure that tested her body’s flexibility.
The very opening number – ‘Dance of Siva’ looked totally refreshing more because of the niceties applied to the rhythm by ace mrid-angam guru Karaikkudi Mani; apt music score by Bala Sai and Vyshnavie’s body language in holding curious postures. Incidentally the entire show ran to pre-recorded music to the given script of the song written by Sri Su Ravi. The central theme to which the dance was presented by Vyshnavie, accompanied by six students was description of thandava of Lord Siva with entire cosmos as his stage, stars illuminating the cosmos, thunder as his beat, Veda chant being his musical support, his footwork dictating the movement of planets in cosmos and ‘Ganga’ in his hair lock. This number was named as Anbe Sivam set in rare Priyadarshini ragam, in varying speeds. This was how the lyricist imagined. The dancers led by Vyshnavie gave an apt presentation highlighting its concept with Siva finally seated on his mount Vrishabha. Even she made space for a catapult. The dancers Hiranmayi, Srinidhi, Taruni, Preeti, Sanjana and Sahana formatted themselves into various requirements and some karanas went to the share of Vyshnavie.
This was followed by Tamil Varnam Anname Aruginilva in Valaji, penned by Subbudu. And the performance stuck to Pandanallur tradition that went to the share of more experienced Rajeswari. This solo number of Rajeswari stood out for its multiple jatis spacing the charanas. The rhythm and precise presentation by Rajeswari stood out as the best number of the repertoire, thanks to the wonderful weave of jatis by Karaikkudi Mani. All the jatis bore identity of their own with no repetitions. The thematic part too sounded novel as the heroine with different Nayika Bhavas narrates her travails to a bird called ‘Anna Pakshi’. Her misery is her hero, Kartikeya, not responding to her pleas to return to her. The way Rajeswari covered the whole of the stage from one corner to another with apt footwork was a thing to watch. To render her presentation for easy grasp, Rajeswari first demonstrated its content with abhinaya.
‘Simhanandini’ by Vyshnavie came next presented in ragamalika and talamalika and ending with Sankaracharya’s Iyigiri Nandini chant and closed with Santi vachanam.
Rajeswari again took to the stage to present a Padam Ennadan Mayam Irikdadi in raga Sudha Saranga. This being more an abhinaya-based number, Rajeswari enchanted the audience with her devotion ridden mortal’s appeal.
Now is the time for Vyshnavie to reappear on the stage totally in different costumes of a warrior to present Kerala based ‘Kalaripayattu’, a display of raw power that included catapults, fights with swords and sticks with her enemy, played by a Keralite Raja Aiyyanarappan, who specially came down to play that role. A mallakhamb demonstration was another highlight of the evening.
