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LAKSHMI VENKATRAMAN
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NATYA Dipti handled the long theermanams with poise. LAKSHMI VENKATRAMAN

FLUID MOVEMENTS: Dipti. PHOTO: S.R. Raghunathan
FLUID MOVEMENTS: Dipti. PHOTO: S.R. Raghunathan

Y oung Dipti Venkatraman has a lot of positive qualities as a Bharatanatyam dancer. She is graceful, has almost accurate talakkattu, particularly during theermanams, maintains her balance when she has to stand one leg and is adequate in the abhinaya aspect, which will hopefully improve as she grows up enough to understand the subtlety of emotions. Dipti began her recital for Sri Thyaga Brahma Gana Sabha, with ‘Mahadevasutam Aham' in Arabhi and Adi Tala, a composition by Dr. Balamuralikrishna, and followed it with Alarippu in tisra gati.

Clean lines

The varnam was the Thanjavur Quartet's ‘Samiyai Azhaithu Vadi' in Khamas. She handled the slightly long theermanams with ease; it was interesting to see her proper araimandi, when for most dancers these days, araimandi is just an excuse. After the varnam came ‘Natanamadum Padanar', a composition by Ramaswami Sivan in Kedaragowla; being a song on Lord Nataraja, this piece also had sollukattu; it was quite lively.

Dipti's guru Ramya Ramnarayan is a disciple of the late S.K. Rajaratnam. He had set to tune the lyric describing the Dasavataram of Lord Vishnu by Annamayya in Ragamalika and khanda chapu tala with sollukattu after each raga. It was rendered with understanding by the young dancer. The finale was the thillana in Dhanasri. The nattuvangam was by Guru Ramya and vocal support by Suresh, with Haribabu on the mridangam and Ganesh on the violin.


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