Vazhuvur classics perfectly presented by Sangita Vasudevan

Directed by guru Rhadha, Sangita Vasudevan made a perfect presentation

Sangita Vasudevan is a long time student of the Vazhuvur style of Bharatanatyam, having trained initially under guru K.J. Sarasa and later under Rhadha for the most part. There is a quiet confidence behind the never-faltering smile and each perfectly carved movement; it is a no-fuss approach where everything is just right.

Conducting the recital at the Narada Gana Sabha was the sprightly 75-year old guru Rhadha, who had danced at the same venue approximately a month ago. Some of Vazhuvur Ramiah Pillai’s choreographies as well as some antique compositions such as the invocatory Thiruvalangadu Mahalinga Kavuthuvam (Begada, chatusra eka), written by Gangaimuthu nattuvanar in the latter half of the seventeenth century. The quaint sollus ‘... thongudu nangudu dikkuddu thakkuddu… thonguddu thariguddu thariguddu thariguddu daanavar vaanavar, dikkudu thariguddu thariguddu thariguddu Thirumaal Ayanodu...’ enunciated with relish by the sweet-voiced Rhadha was most enjoyable.

The Vazhuvur choreography of the ragamalika sabdam (misra chapu) was interesting with regard to the composition of steps and the visualisation. To denote the friend putting on airs (modi), the dancer sits in muzhu mandi with one leg stretched out as in the sutral adavu and turns her torso to the back to show rejection and again in the line that says that lotuses are not equal to the beauty of Krishna’s feet, the dancer is seated with both hands in alapadma hasta at shoulder level, moving them from the right to the left like a garland.

Dignified portrayals

Sangita, the mature dancer that she is, played the role of the nayika in love comfortably in the Bhairavi masterpiece (‘Mohamana,’ Rupaka, Thanjavur Quartette). So was the portrayal of the sarcastic and hurt nayika in the padam ‘Indendu vachitivira’ (Suruti, Subbarama Dikshitar). She does everything to perfection, so the emotions are also dignified and measured. Perhaps she can look more spontaneous if she added a little informality or enthusiasm to her portrayals.

The thillana (Sankarabharanam, tisra Adi, Ponniah Pillai) was another choreography of the Vazhuvoor master that had been performed by the celebrity-dancer Kamala and her sister, Rhadha more than 50 years ago.

Nandini Anand (vocal) and Kalaiarasan (violin) added lustre to the performance with their melody. Dhananjayan (mridangam) was a faithful aide to Rhadha’s nattuvangam, while making room for himself in the gaps and playing them cleverly in a different pitch.