Graceful performance

Danseuse Madhavimala portrayed different avatars of Parvati through her dance.

IN STEP: Madhavimala. Photo: Special Arrangement

The premises of Sunshine Hospitals, Secunderbad, now has a venue for the presentation of dance, music, drama and literary events, free of cost, courtesy; hospital's chief Dr. A.V. Gurava Reddy. He announced at Sarvepalli Madhavimala's Kuchipudi dance event, held here, last Saturday that he was prepared to give it free of cost to any organisation, for, ‘literary events, fine arts and cultural programmes that serve the soul.' The auditorium is well equipped with sound and light systems, back stage facility, large stage space and comfortable seating arrangement for a hundred people.

Anandapriya Foundation presented a Kuchipudi show by noted Kuchipudi exponent Madhavimala in a delightful recital at this venue. Madhavimala is an experienced dancer and recipient of the state government's ‘Kalaratna' award. This post-graduate from the University of Hyderabad learnt Kuchipudi under the tutelage of Vempati Kodandarama Sastry and K. Uma Rama Rao and Vedantam Prahlada Sarma.

A traditional opening

Madhavimala's performance had a traditional opening with a ritualistic Pushpanjali and took up

Jaya Jaya Swamin Jayajaya in Gowla, a tarangam of Narayana Teertha as Vinayaka Sthuti. She presented words like Gaja Mukha , Vakratunda , Mooshika Vahana with apt mudras and abhinaya. Vocalist Jayalakshmi concentrated well on meaningful diction with right emotion. Gale Bhujanga a rare bhajan tuned by Ustad Amjad Ali Khan in Hamsanandi came for impressive interpretation in describing the beauty of Lord Siva replete with Sringara sentiment.

She also performed on Samavedam Shanmukha Sarma's Sanskrit composition Vande Srimaatam set in Ragamalika in Roopaka taalam, tuned by T.P. Chakrapani. It was in praise of Parvati, he extolled the many forms of the Goddess like Mahadeva Taruni , Sri Chakra Nivasini and Sivamkari, all interpreted by Madhavimala with bodily fusion. This was opened with swara-jati combination interspersed with charanas.

The pallavi was followed by another set of swarams and jatis. After eulogising the Goddess as

Madhu Kaitabha Niyantri ,

Mahakalika , and

Mahishantakari ; the line

Mahishaantakari Siva Mahalakshmim Bhaje was converted into nereval structure by vocalist Jayalakshmi to which Madhavimala could find fine interpretation with probing abhinaya for all these ‘stotras.' This turned out to be the major part of her recital. Then as a relief, Madhavimala took up Annamachrya's popular kirtana

Emoko Chigurutadharamuna set in Tillang ragam and Ropaka talam. It described the beauty of Goddess Alimelu Manga, consort of Lord Venkateswara and goes on to interpret the union of

Jeevatma with

Paramatma .

This is part of Madhura Bhakti . Madhavimala ended her show with Jayadeva's Ashtapadi Dheera Sameere Yamuna Teere in raag Desh. Nattuvangam by N.C. Raghunandan was precise and perfect to a neat mridangam support by Nageswara Rao. Vocal by Vijayalakshmi was loaded with suitable emotional expression. Sudhakar's veena supported lyrical lines with raga bhava. Murali on flute and percussion and special effects by Sridharacharya enhanced the musical impact.