The audience seemed enjoy the dance performance, which featured a variety of carefully chosen songs and powerful choreography. Vibha Veeraraghavan, disciple of Archana Narayanamurthy, founder and managing trustee, Pandanallur School of Arts, presented her solo Bharatanatyam recital.
Vibha began her recital with a Pushpanjali set in raga Nattai and adi tala. This was followed by a keerthanai, ‘Adikkondar anda vedikkai kanak kan ayiram vendamo,’ where the devotee exclaims, “To witness Anandha Tandavam of the cosmic dancer Nataraja, don’t I need a thousand eyes?” Nataraja is a compassionate deity, who saves his devotees in times of conflict. As he dances, everything around him moves, for he is the source of all movement in the cosmos. He triumphed in a dance competition with goddess Kali by striking the Urdhva Tandavam posture, and he became the permanent deity (the Sabanayagar) of Thillai, the temple in Chidambaram. This piece is set in raga Mayamalavagowla and Adi tala, and is a composition of Muthu Thandavar. Vibha’s vibrant movements conveyed the essence of this powerful song.
Vibha Veeraraghavan performing at Narada Gana Sabha mini hall. | Photo Credit: S.R. RAGHUNATHAN
Next came the varnam, ‘Senthilmevum deva deva shivabala’, in praise of Lord Muruga, who resides in Tiruchendur. He is the destroyer of the demon Surabhadran, the savior of the devas, and the son of lord Shiva. In the line ‘Cintai irangi ennai ala vā vēlavā vā,” the devotee pleads, “What is the reason for you to neglect my devotion or refuse to understand my feelings?” This piece is set in raga Neelambari and Adi talam, and is a composition by Lalgudi G. Jayaraman. The jathi compositions are by Pandanallur Srinivas. As far as varnams go, this one was different. Vibha’s abhinaya and nritta prowess came to the fore in this piece.
Vibha strikes the Nataraja pose. | Photo Credit: S.R. RAGHUNATHAN
Oothukadu Venkatasubbaiyer’s ‘Kuzhaloothi manamellam’ in raga Kambhoji and Adi tala followed. Here, the cowherd says, “When I hear the melodious sound originating from the bamboo flute played by Krishna, all my sorrows vanish, and I am in eternal bliss.” The young dancer conveyed the emotions well.
The concluding piece was the thillana in raga Paras and Adi tala, a composition by Srinivasa Iyengar. Vibha’s sharp footwork brought out the spirit of the composition.
The orchestra for the evening consisted of Randini Aravind on vocals, Nagai Narayanan on the mridangam, M.S. Kannan on the violin, and Archana Narayanamurthy did the choreography and nattuvangam.
