Visually pleasing

July 24, 2014 08:41 pm | Updated 08:41 pm IST - Chennai

Uttara Rao. Photo: Special Arrangement

Uttara Rao. Photo: Special Arrangement

Kanaka Srinivasan, a veteran torch-bearer of the Vazhuvoor style, presented her disciple Uttara Rao at the annual Nalli Adi dance festival of Brahma Gana Sabha. The Delhi-based Kanaka is well-known for her dedication as a very senior teacher of this sampradaya.

Uttara has been well trained by her teacher to portray the picturesque nuances of this style creating visual beauty. She has an impressive stage presence. She has the potential and stamina to uphold the details of nritta and abhinaya of this tradition. With rigorous practice, her approach to nritta elements and understanding of intricacies of abhinaya aspects are bound to improve. Uttara needs to concentrate on firming up her physical structure in execution of the adavus, while in abhinaya, she has to work on the sthayi of the interpretive details to a great extent.

Uttara’s sincerity and effort were evident from the beginning of the performance. Pushpanjali was the opening number, which she could have embellished with a firm foot work and movements.

The main piece, the varnam of K.N. Dandayudhapani Pillai, ‘Mohamaaginen,’ which has excellent musicality and rhythmical details, had been set by Kanaka to suit the capabilities of this disciple. Kanaka’s rendering of the jatis brought alive the choreographic process of the great master.

In the varnam, Uttara’s presentation of the jatis needed to be tightened up to glide along the rendition. Also, her depiction of the love-lorn nayika in this number got diluted as she shifted away from the sthayi quite often. However, Uttara was at ease in the latter section of the varnam, with smooth execution of the lively muktayi followed by charana swaras and the corresponding sahitya lines. She made a pleasing visualisation of the sarpa nadai, a special part of doyen Vazhuvoor Ramaiah Pillai’s choreography.

The following composition by Ambujam Krishna, dwelling on Sriman Narayana created the right devotional mood. Kanaka was supported by Swamimalai S.K. Suresh (vocal), Dhananjayan (mridangam) and Sasidhar (flute).

Grace and poise

Murugasankari, senior disciple of Parvati Ravi Ghantasala of Kala Pradarsini, gave a vibrant performance. She was accompanied by her teacher (nattuvangam) and an excellent orchestral team consisting of Hariprasad (vocal), Guru Bharadwaj (mridangam), Dr. Vijayaraghavan (violin) and Sruti Sagar (flute), each of whom gave their best to make the performance a very pleasant experience.

Murugasankari also has histrionic talent, being the daughter of multi-faceted theatre personality Leo Prabhu, apart from her hard work and involvement in pursuing a career in Bharatanatyam, both as a performer and a teacher. She was full of poise and grace throughout her performance, which added a dimension of liveliness to her striking stage presence.

Murugasankari commenced her programme with a lively composition of Mazhavai Chidamabara Bharati, ‘Maa Mayura Meedileri’ in Bilahari, extolling the Lord seated on the peacock, Sri Swaminatha. She displayed elegant movements of the peacock and the entire composition was set by her with simple, but catchy visual description. The following sabdam on Lord Muruga was yet another pleasing number.

The major composition of the evening was the varnam of Dr. M. Balamuralikrishna, ‘Amma Anandadaayinee’ in Gambhiranattai, choreographed by Parvati. Murugasankari’s technique has a combination of nritta oriented towards more stylised movements that leave an impressive visual impact, though at times lacking in depth of properly structured set-up; in abhinaya, it focuses on dramatisation and open display of role reversal. Murugasankari who is well-equipped to handle serious nuances of nritta and higher grades of abhinaya interpretation should work further to reach these levels, instead ofremaining within a defined area of her training, or imitating certain other styles at some points during her presentation.

Abhinaya interpretation for varnam is a unique task. Similarly, the traditional arrangement of the five jati-based jatis adds a certain status to this marathon piece, which tests the dancer every time. These concepts are usually missing in the present day varnam presentations. Murugasankari almost followed the order of the day, although her presentation was sustained by her skill and strength in upholding the devotional fervour of the lyrical content.

The pure dance sequences had easy, gliding, picturesque movements, or freezing postures, rather than any solid adavu-based expansions to give a proper dimension to the technical side.

The multi-splendored mother, the Supreme Devi as the Giver of Eternal joy was aptly depicted by the dancer with episodic narrations of Muka Kavi, (speech-impaired) who became a poet with Her blessings and Devi saving her devotee Abhirami Bhatta, which were all treated with elaborate elements of dramatisation, receiving spontaneous appreciation from the audience.

However, in the opening line, ‘Akaara, Ukaara, Makaara Rupinee,’ a highly philosophical phrase that could be expanded in several layers, got only a limited treatment in the abhinaya improvisation. The post-varnam section, ‘Sive, Sive,’ was brimming with energy that pervaded the orchestral team, where each one vied with the other to follow the dancer, who gave a sparkling touch to that part of the varanam.

Confidence and composure

Earlier, Sri Saraswati Gana Nilayam, headed by Ranganayaki Jayaraman, presented its young student Shravanita at the same venue. She has the necessary talent and enthusiasm to blossom into a refined dancer.

In the post-varnam section of ‘Angayarkanni’ by Lalgudi Jayaraman, set by Ranganayaki, the dancer was full of confidence and composure. A neat arai mandi, proper feet arrangement throughout and clarity in hasta-pada viniyogas in the alternating segments of rhythm and word gave dignity to her performance. The pure as well as narrative aspects of this varnam were convincingly portrayed, with simple, yet effective delineations.

The emotional outpouring of Papanasam Sivan in his ‘Kaa Vaa Vaa,Kandaa Vaa’ in Varali, came out beautifully with the intense, soul-filling rendition of Radha Badri. This composition found its soothing depiction in Shravanita’s poetic narration. This young artist has talent blended with the technical understanding of interpretation, to create a heart-warming visual experience. Her orchestral team, consisting of a gifted young Vaidehi (nattuvangam), accompanied by stalwarts Radha Badri (vocal), Dr. Vijayaraghavan (violin) and Nellai D. Kannan (mridangam), gave an enriching support.

0 / 0
Sign in to unlock member-only benefits!
  • Access 10 free stories every month
  • Save stories to read later
  • Access to comment on every story
  • Sign-up/manage your newsletter subscriptions with a single click
  • Get notified by email for early access to discounts & offers on our products
Sign in

Comments

Comments have to be in English, and in full sentences. They cannot be abusive or personal. Please abide by our community guidelines for posting your comments.

We have migrated to a new commenting platform. If you are already a registered user of The Hindu and logged in, you may continue to engage with our articles. If you do not have an account please register and login to post comments. Users can access their older comments by logging into their accounts on Vuukle.