Graceful display of talent
B. RAMADEVI
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Alone and in group, performers at the Pollachi dance festival captivated the audience with their footwork and abhinaya.
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A scene from `Balaramayanam.'
Participating in the dance festival conducted by the Pollachi Tamil Sangam, young Nivedha Suresh, a disciple of Sasirekha Rammohan, transformed herself into Mother Yasodha as she bathed, dressed, fed and punished little Krishna while she was dancing for "Enna Thavam Seidhanai" (Kapi). Her well-planned recital at the Mahatma Gandhi Mandapam, Pollachi, included `Pushpanjali' in Gambhiranattai, "Senthil Mevum Deva Deva," a padavarnam by Lalgudi G. Jayaraman and a thillana in Chandrajothi.
Nivedha's tasteful costumes, eloquent facial expressions, quickly changing statuesque poses, emotion-filled sancharis and brisk adavus were a feast to the eyes. Sasirekha's impressive announcement and nattuvangam, along with the majestic voice of Chitrambari Krishnakumar, made Nivedha's dance really enjoyable. Muruganandam on the violin and Venkatasubramanian on the mridangam joined them forming a powerful team.
Laudable and alluring
Bangalore-based Aishwarya Nithyananda's Bharatanatyam recital had high calibre and those who knew the intricacies of dance could appreciate the meticulous care that had gone in the choreography and the hard work that brought out its beauty. In Pushpanjali she depicted the fierce and powerful Siva from whom the rules of grammar emanated and the alluring Parvathi, the embodiment of feminine grace.
The verses from `Sri Krishna Karnamrutham' set in Reetigowla (which she presented as varnam) provided Nivedha a chance to depict rasa leela, the lifting of Govardhanagiri, Draupadi Vastraapaharanam and Gitopadesam.
Aishwarya presented the essence of viyoga sringara in "Nee Poi Azhaithu Vaadi," a padam in Kapi by Ambujam Krishna. With her lovely poses and lightning footwork during the Revati tillana (Maharajapuram Santhanam), she brought into focus the beauty of the human form. The orchestral support was exemplary with Pulikesi Kasthuri's nattuvangam, Ramesh Chataka's vocal support, Tulasiram's mridangam and Madhusudhan's violin.
Impressive presentation
Sri Devi Nrithyalaya, Chennai, presented Bharathiar's `Shakthi-k-koothu' impressively in panchanadai. The dancers depicted `sura samharam' and the `mambazham episode' as sancharis for the varnam in Neelambari.
The dance of Siva for "Aanandam Pongum Inba Thaandavam" was majestic and awesome. The thillana by Dhandayuthapani Pillai in Desh ragam was presented in the form of `Perani Natyam' and the dancers performed it on upturned clay pots. The dance drama, `Balaramayanam,' (also by Sri Devi Nrithyalaya) began with the birth of Sri Rama and concluded with his wedding with Sita.
There were many picturesque scenes representing the different incidents that occurred in the life of Sri Rama.
BEAUTIFULLY BALANCED: A glimpse of `Perani Natyam.'
Kathalmathi's lyrics were set to music by Balabharathi and choreographed by Sheela Unnikrishnan, founder and managing trustee of Sri Devi Nrithyalaya Trust. The well-known and well-loved story unfolded smoothly with lovely dance sequences.
The episode of Vamanavatharam was presented elaborately as one of the stories related to Rama and Lakshmana by Viswamithra.
The killing of the demoness Thataka was also presented with effective techniques and won great appreciation.
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