Senior dancers and office-bearers of the ABHAI executive committee, Chennai, presented a well-knit Margam at the Dasyam Ananthotsavam, curated by Gopika Varma.
Roja Kannan, Parvathi Ravi Ghantasala, Priya Murle, Priya Dikshit, Binesh Mahadevan, Shanmugasundaram and Ananthashree presented ABHAI repertory.
“We started this joint venture in January this year at the Kala Pradarshini festival and followed it up with a recital in the platinum jubilee of Guru K. J. Sarasa. This time it is a new margam based on Vishnu,” informs Roja Kannan.
“Being senior teachers, it is imperative that we do not dilute the creativity of renowned gurus but preserve the purity of tradition. It is also an endeavour to demonstrate how solo pieces can be made suitable for group presentations,” adds Roja.
“There is a positive synergy when we practise together. We share inputs, assimilate the similarity and differences, learn from each other, irrespective of age and seniority. This rapport also helps us in reaching the audience. For many of us who are busy with teaching, this gives us a refreshing perspective,” says Priya Murle.
The team squeezes in practice sessions late night or early morning to accommodate their class schedules, travel, performances and orchestra availability.
The opening Purandara Dasa Thodaya Mangalam in Ragatalamalika, set in a bhajan format, with interesting criss cross movements and geometric formations, was a precursor of the pieces to follow.
‘Brahma Kadigina padamu,’ the Annamacharya keerthanam in Mukhari, Adi tala, was presented solo by Parvathi with intense emotive phrases. The glory of the Lord’s adorable feet that crushed the pride of Kalinga and Mahabali was picturised well.
The varnam (‘Engum Nirainda Paramporule,’ Pantuvarali, Adi, Madurai N Krishnan) was a happy marriage of melody and rhythm. The avatars of Vishnu and Vishwaroopam that measured the three worlds were expressed with clarity and clean lines. The end pose was picturesque.
Amalgamation of jatis from different schools in the varnam, showcased each of them in their element. They paired with each other in turns, entering and exiting seamlessly. The varnam succeeded in integrating individual capabilities into a cohesive whole.
‘Shankara Srigiri’ in Hamsanandi, Adi, a popular composition of Swati Tirunal, with immense scope for nritta and abhinaya, was shared in two parts by the male dancers, Binesh and Shanmugasundaram.
‘Bhaja Govindam’ in ragamalika had sequences of tillana syllables in different ragas as nritta prelude to the lyrical segment. It was presented in sequential solo by each of them. In this brilliantly conceived piece, the audio support, otherwise of good standard, did not match the singer’s voice slipping in high octaves and the flute sounding too loud. In a mature deviation from custom, the dancers did not join in for a chorus. The piece segued into the mangalam.
Precise nattuvangam by Sasirekha Balasubramaniam, vocal by Chaitra Sairam, mridangam by M.S. Sukhi, violin by S. Vijayaraghavan and flute by T. Sasidhar comprised the competent orchestra support. Colour-coordinated costume added to the unified effect of the presentation. It was a productive association of dancers from different banis with distinct styles and strength.
