FRIDAY REVIEW

Matching laya step for step

Perfect adavus: Sivani

Perfect adavus: Sivani  

LALITHASAI

Sivani and Namrata came up with gripping performances at Bharat Kalachar’s 21st Yuva Utsav.



Perfect adavus and commendable expressions marked the recital of Sivani G., disciple of Revathi Ramachandran, at Bharat Kalachar’s 21st Yuva Utsav. The recital began with a verse from the Divya Prabhandam — ‘Pallaandu Pallaandu.’ A thalamaligai which ended in chatusram, ‘Pallaandu …’ included two sequences — Gajendra Moksham and Mahavishnu in ‘Paarkadal’ with his consort. The dancer explained these well, with jatis.

The varnam, ‘Swamiyai Azhaithu’ — a ragamalika — was a composition of Dhandayudhapani Pillai. It had ragas such as Mohanam, Bhairavi, Vasantha and Deva Manohari. Each of the four charanams was composed in a different raga. The padam, ‘Mudugarae Yashoda,’ an Annamayya kriti in Kurinji, had incidents from the life of Krishna. Sivani showed involvement while taking up the role of Yasoda who sees Krishna eating mud, and when playing the part of a gopika dancing with the Lord.

The highlight

The highlight of her dance was Shudda Nrittam, a speciality of Revathi Ramachandran, her guru. There was impeccable coordination between Sivani and the mridangist N. K. Kesavan during the piece.

Revathi Ramachandran had been both flexible and firm in bringing out the talent of her disciple. Sivani showed excellent control over her footwork and her understanding of the laya. Kesavan brought out many a solukattu on his mridangam and Sivani matched it with ease. Whether it was kandam, tisram or chatusram the footwork was clear and her whole body swayed accordingly. She answered every one of his talams with her jathis that both softened and intensified as warranted, thus drawing appreciation from the audience. The layam was so appealing that even after she finished her nritta there was thunderous applause.

“It is an ancient temple dance form that was resurrected by my guru Mangudi Durai Raja Iyer. He followed the Melattur style. This dance form is offered to the deity during the Brahmotsavam of Chengalvarayar temple, Cheyyur,” said Revathi Ramachandran. Revathi has been practising it for more than 35 years and her guru played the mridangam during her concerts.

Nattuvangam by Revathi Ramachandran was lively. Vocalist N. Sasidharan kept pace with the artist. Harmonious stringing of the veena by Bhavani Prasad added further charm to the show.

The hallmark

Namrata Vijay’s gripping performance on the evening of September 28 represented the various facets of Bharatanatyam. The invocatory piece was a ‘Gyanasabesa Stotram’ in traditional Vazhuvoor style, in Nattai. She followed this up with the varnam, ‘Swami Naan Undan Adimai Endru’ in Nattakurinji.

Her adavus were orderly and so were her teermanams which were carefully presented.

Throughout the varnam Namrata took the audience on a pleasant journey of rasa and bhava.

Her flexible body and timely execution of jatis were quite appreciable but the araimandi, which would have made them more presentable, was obviously absent. A straight-back was the hallmark of the performance.

In the padam, ‘Chaliyae’ in Brindavana Saranga, she showed the eternal love between Radha and Krishna. She began with the sringaram and effectively elaborated on the line, ‘Deeko Jamuna’.

She exhibited passion in movements depicting her reactions to the song of the cuckoo, swinging and rowing. The curtains came down with the Mohana Kalyani tillana.

Vocal support was given by Nandini Anand. Karthik maintained the tempo well on the mridangam and Sunil Kumar accompanied Namrata on the flute.

Guru Rhadha handled the nattuvangam softly but firmly throughout the performance.



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