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MYRIAD HUES OF INDIAN DANCE
Nandini Sinha from Calcutta recently performed a Kathak recital at the YGP Auditorium, Bharat Kalachar, Chennai. ‘Vishnu Vandana’ came forth as the initial piece with which the recital commenced. The mesmerizing and reverberating voice Pt. Birju Maharaj rendering the sloka ‘Bhaje Brajaika Nandanam’ was a thrilling experience for the rasikas. Further she moved from mythology to Nature, which was based on the Rabindra Sangeet of the West Bengal. The ‘Suddha Kathak’ piece based on Teen Taal comprising of Thaath, Aamad, Chand, Tihaayees, Tukras and Chakradaar parans were more in correspondence with what we do in our day to day life. In the Tulsi Bhajan ‘Thumaka Chalata Ramachandra’ the audience saw the little Rama live on the dais.
Playing with numbers is common in the Kathak style. Nandini is no exception to this rule. The item ‘Ginti’ well brought out her expertise in the mathematical calculations behind theTtatkaar and Tihayees. Her well-balanced presentation with equal importance to nritta and abhinaya mirrored her experience. Hori, a composition of Maharaj Bindadeen and the Drut laya bit in Teen Taal were rich and colourful. The concluding piece ‘Jag mein sundar hai do naam’ was a fitting climax.
Nandini Sinha at her Kathak performance
Lakshmi V N
Srividya in the guise of a Gopi
Near perfection
Oothukadu Venkatasubbayyar’s ‘Ananda Nartana Ganapatim’ was a bright prelude to a fine performance of Srividya at Madurai. It was followed by ‘Swagatam Krishna', yet another piece in the Oothukkadu tradition. The way Srividya, in the guise of a Gopi, decorated her home to welcome her Lord with all cheer and excitement was realistic. The sanchari was performed in the swara sequence, which was crisp yet interesting. Special credit goes to the choreographic genius of Guru Udupi Laxminarayan. The key item ‘Maye Mayan Sodariye’ was a heart filling one. The tinkling sounds of the two nattuvangams handled by the Guru and his able daughter Madhumati with planned and shared rendering of the jatis added extra flavour to this piece. Madurai G S Mani’s ‘Kolamayile’ in Valachi and Purandaradasa’s ‘Amma Nimma’ in ragamalika were other interesting pieces that found Shanthi Jayaraman (Vocal) and Viswanathan (Mridangam) at their best. The ragas preceding every piece rolled flamboyantly from Veeramani’s Violin and Subbu’s Keyboard. Srividya's expressions were upto the mark and her nritta sequences were near perfect in the Kanchipuram bani of Ellapa Mudaliar propagated by her Guru Udupi Laxminarayan.
Lakshmi VN
Maharaja Swati Tirunal was such a great patron and lover of art forms that many artistes found their prosperity and good times during his regime. When the entire music field is busy celebrating Swati Tirunal Day at various venues, Srikala Bharat, who is yet another product of Sarasalaya, performed a Bharatanatyam recital at the Bharatiya Vidya Bhavan, Chennai. This programme was a tribute to Swati Tirunal and entirely consisted of his compositions. It was a grand feast to dance lovers.
The compositions were handled in a matured way by the experienced danseuse. A compiled version of the selected verses of Swati Tirunal were garlanded in the form of a fine Varnam that mirrored her years of experience and dedication. In the post-Varnam session, the Javali was handled with ease and expertise. The Tillana in Dhanasri was a fitting finale to the grand one and a half hour show. She was ably supported on the Nattuvangam and Vocal by Subhasri and Chitrambari respectively. The accompaniment from the melody and rhythmic ends were really significant, particularly the interlude ragas.
Jayasri
Srikala Bharat
Posted on 18th May 2001
