Subhashini Giridhar, practioner of Bharatanatyam in Tanjavur style is known for her choreographic numbers that carry divinity and in this repertoire, called ‘Bhakti Pravaham’, we find Tiruppavai, Siva’s dance ‘Natanam Adinar’ and ‘Venkatachala Nilaya’ of this cadre. She presented her performance at Ravindra Bharati, last week.
The first number Subhashini presented was Sri Ganapatini Sevimparare of Thyagaraja in Sourashtram, Adi talam. This is from Thyagaraja’s ballet ‘Prahlada Bhakti Vijayam’. This was apt number for any dance form for it has some inbuilt support to abhinaya. Subhashini presented this number with devotional touch. This was followed by kautvam composed with Kali as central character. It was more nrutta based and served the dancer to warm up well.
Subhashini then took up major show piece ‘ Thirruppaavai’ focussed at Godadevi, great devotee of Ranganatha, and another form of Vishnu. Godadevi, also called as Andal, was said to have written thirty stanzas in praise of Ranganatha, her deity.
This earned place in a volume called ‘ Divya Prabandha ’ , compendium of contribution of a dozen Alwars. Subhashini chose Andal’s first paasuram ‘ Margazhi Thingal ’ tuned in Bhoopala ragam and also third pasuram Ongiulandhauttaman Per Paadi in Arabhi, Adi talam. Subhashini appeared on the stage this time wearing a huge garland as devotee of Ranganatha.
Her footwork with garland around her neck made her look more like a devotee whose pace slows down as her admiration to God gets projected.
The final abhinaya number was popular piece, a Padam Venkatachala Nilayam, of Purandaradasa tuned in Sindhubhairavi. This too was long, giving space for detailed abhinaya, depicting different episodes related to ‘Pandavas’, Krishna’s childhood friend ‘Sudhama’ and ‘Pundalika’. Narration of themes around these characters was well depicted in abhinaya by Subhashini. She concluded her show with tillana in Raag Behaag, Mishrachaapu talam.
