Friday Review

Rhythm, Movement, Rasa

Revathi ramachandran and Manasvini. Photo: Special Arrangement

Revathi ramachandran and Manasvini. Photo: Special Arrangement  

Revathi Ramachandran and Manasvini explored various aspects of Siva.

The aesthetic setting with the sculpture of Nandi, a temple bell hanging low, a strand of vilva leaves and a trishulam pendant adorning the neck of the dancer were the pointers to the theme – Lord Siva. Tackling two aspects of the meaning of Laya – rhythm and complete internalisation -- Revathi Ramachandran and her daughter, Manasvini paid tribute to their Guru, Mangudi Dorairaj Iyer in a programme titled Laya Nirupanam.

The programme began by highlighting the rhythmic fervour of the Lord of Dance with ‘Shambu Natanam’ tuned by Ganesh and Kumaresh. This was followed by a recitation of the 14 Maheshwara Sutrani - sounds that emanate from Siva’s damaru leading to the creation of the Universe.

Depicting the attributes and adornments of Siva, in a leisurely manner, Manasvini showcased her talent and competence in nritta with her impressive footwork matching the jatis structured in varied nadai in the Dikshitar kriti ‘Ananda Natana Prakasam.’

Standing under two spotlights on two ends of the stage, the synchronised movements of the dancers brought out the distinct demarcation of youth and energy on one hand and restraint and experience on the other, in Dorairaja Iyer’s composition in Khamas. The cycle of life from birth to death, day and night, seeds to trees, was done with appropriate sancharis.

Bringing in a folk flavour, ‘Sankara Sankara Shambho’ culled from Anandakalippu of Thayumanavar, Revathi choreographed this piece as a dialogue between two young women visualising the attributes of Siva in the form of Dakshinamurthy.

The popular M.K Thyagaraja Bhaghavatar song, ‘Deena Karuna Karane,’ was a lively finale in place of the thillana. The idea of portraying the twin aspects of Siva symbolising rhythm and movement, and Dakshinamurthy representing stillness and realisation, was interwoven in a sensitive manner in the structuring of the repertoire. A little more emphasis on bhakti bhava and quest for total surrender by way of intense abhinaya in one segment would have elevated the impressive performance to a higher plane.

Venkatasubramanyam (nattuvangam and rhythm pad), Preeti Mahesh (vocal), Vedakrishna Rao (mridangam), Srilakshmi (violin) and Sruti Sagar (flute) provided the orchestral support.

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Printable version | May 27, 2020 10:45:50 PM | https://www.thehindu.com/features/friday-review/rhythm-movement-rasa/article7662515.ece

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