Veteran dancer and teacher Chitra Visweswaran has over the years evolved a style that is flamboyant and uncluttered at the same time. Lasya-oriented, the vocabulary is dominated by expansive movements and body sways while a unique neck movement, possibly inspired by Kathak, compliments the adavus or steps. It is a vibrant package but there is a danger of the style being dismissed as too flippant if the grounded parts are not emphasised enough.
Pallavi Sriram, a senior disciple of Chitra Visweswaran, proved to be a beautiful ambassador for the style. In orange and mustard, and accessorised with red temple jewellery, her costume spelt muted artistry. With maturity and confidence, Pallavi was able to give the style the depth it needed, though more azhutham would be welcome in nritta passages. It is important to hear the dancer's bells and for the contrast between aerial and grounded steps to come through.
Pallavi is a musician as well, having trained under P.S. Narayanaswamy. Though the choreographies were her guru's, one could see how involved she was and how much at ease. She holds a Major in Dance degree from Northwestern University in Chicago and is a professional dancer.
Talented support team
Supporting Pallavi was her talented brother Siddharth Sriram (vocal), who is a disciple of P.S. Narayanaswamy and Guruvayur Durai. Once his voice warmed up in the swarajathi, Siddharth's music was so compelling that one was torn between giving the music or the dance more attention. His job was not easy as the Dasavathara piece was a ragamalika and each raga had to be given its due during the descriptive passages. The instrumentalists guided the switches well.
While the excellent musicians (Srilakshmi Venkatramani -violin and Nataraj - flute) turned the heavy Dasavathara swarajathi (‘Kamalajasya,' Adi, Maharaja Swati Tirunal) into a musical treat, the choreography (Chitra) itself was unusual. There was no melodrama or violent movements as the background of the avataras was sketched and Vishnu's appearance as the incarnation ended each episode. It was a slow unfurling of the devotional piece.
The mature artists ensured no lag in energy through the 40-minute treatise. Sukanya Ravinder's nattuvangam was masterly and with voice modulation, her sollus were most enjoyable. The ode to Ganga, ‘Jai Gangai' (composed by Chitra) brought out Sukanya's best. The mridangam vidwan Adyar K.Gopinath was an unobtrusive yet solid team player.
Pallavi is graceful and dignified in both the pure dance and dramatic segments. The Sringara nayika in ‘Ariya Paruvan' (Hamsanandi, Adi, Periasami Thooran) reminisces about how her love for Muruga crept up on her unknowingly from childhood. This was one more quiet, unhurried and dignified essay.
Picture of poise
The first thing one noticed about young Bharatanatyam dancer Rachana R. Narayanan was her sophisticated costume -- an unusual combination of turquoise blue silk and gold Banaras brocade. The second was an unerring sense of timing. Rachana, a disciple of dancers Nalini Prakash and Padma S. Raghavan, both graduates from Guru Sudharani Raghupathy's Shree Bharatalaya, is clearly a good student. She is meticulous and you can see that she herself is particular about getting it right.
Rachana's style has matured -- her body posture is straighter and more dignified and her lines are sharper. She was full of energy and enthusiasm as she cruised through the sparkling Shree Bharatalaya jathis that evening when she performed for the Brahma Gana Sabha. Only the araimandi stance was wanting in the almost-perfect execution.
Rachana is also less self-conscious in the expressive sections. The background behind the Narasimha and Vamana avataras in the Pantuvarali padavarnam (‘Engum Niraindha Paramporule,' Adi, Madurai N. Krishnan) was retold clearly. Especially interesting was the capturing of Vishnu's moods in the Narasimha avatara, the ‘ghora roopa' or ferocious form as a lion-man and the ‘saumya roopa' as a benevolent God. The devotee cranes her neck to catch a glimpse of the deity in Thirumala... This was perhaps Rachana's best moment that evening when she unconsciously assumed the role and ceased to play-act.
An explanation of the context of the Meera bhajans ‘Jaya Krishna Murari' and ‘Chalomana Ganga Jamuna Teer' (Yaman Kalyani) would have made a difference as the full import of the piece did not come through. ‘Indendu Vachitivira' (Suruti, misra chapu, Melattur Kasinadhayya) presenting an angry and sarcastic heroine was however clear and easy to understand. As the dancer matures and identifies more with the characterisations, her eloquence will deepen.
Opening with benedictions for Shree Bharatalaya and the satellite Silambam dance schools, Nandini Anand (vocal) was in great form that evening. Her voice modulations while listing the names of the avataras (additions to the varnam anupallavi) was enjoyable as for example, a full-throated ‘Parasurama' contrasted with a soft ‘Rama' marrying mood and melody simultaneously. Prof. Kandadevi Vijayaraghavan's melody was hauntingly tuneful and the Yaman Kalyani and Hamsanadham openings were delectable. Nellai D.Kannan (mridangam) played with great care for the dancer and nattuvanar; his memorable moment was in the transition korvai in the varnam before launching the charanam. Padma (nattuvangam) was a picture of confidence and authority as she guided the dancer skilfully. She too has matured as a guide and teacher.
