Pure Bharatanatyam

SAILAJA, A senior disciple of K. J. Sarasa, gave a Bharatanatyam recital recently for Lalita Kala Vedika. Sailaja, who is well- trained in Kuchipudi as well, revealed grip and confidence. A noteworthy aspect was that she strictly adhered to the nuances of Bharatanatyam without mixing styles. Rigorous footwork and apt abhinaya improvisations made the presentation of the varnam of the Quartet ``Samiyai Azhaithu'' in Khamas, a lively one.

The pallavi and anupallavi sections of the varnam were handled with skill although `Bhoomi Pugazh'' could have been elaborated more, with the focus on the glory of Madurai as well as the form and beauty of Lord Sundareswara.

The second part of the varnam started off on a bright note and contained a crisp rhythmical set up and arudi.

The next number was the exquisite Javali ``Smarasundaranguni''. Sailaja's performance of this piece was average.

The vocalists who rendered this should have followed an authentic version of singing in order to capture its melody and joyful mood.

Dancer A. Lakshman conducted the recital with good grip. Anil Kumar's mridangam added a special touch. Sikkil Balu played on the violin.

Tranquil

Clarity and easy flow of sancharis developed gradually,brought in a tranquil mood to Rasika's performance for Abhinayasudha of Kalanidhi Narayanan. Rasika (from New Delhi) has learnt the art from several teachers, the main ones being Nana Kasar (New Delhi), Adyar K. Lakshman an and Kalanidhi Narayanan.

The performance had composure and Rasika's confidence seems to have blossomed over the years in spite of limited stage appearances.

She danced with considerable skill and maturity although all the above facts could not find full manifestation in the nritta and abhinaya elements.

However her innate strength and grip were evident. Rasika's approach to abhinaya was dignified although her face was not mobile enough to capture the nuances of the changing emotions.

In the first part of the recital, Rasika depicted the different glorious facets of Lord Muruga in the beautiful sabdam ``Deva Devanum'' which was preceded by Chatusra Alarippu and Tandava Nritya Kari in praise of Lord Ganapati.

The main varnam, ``Mohamana'', of the Quartet was noteworthy with neat hasta mudras, delineation of hands, and methodical development of ideas.

The technical side of the number was rendered in a crisp manner. However the ideas for ``Bhoja Tyagesa'' were limited and lacked depth. Also the last two swaras and the sahitya - ``Suresan'' were omitted, thereby giving an abrupt ending.

The ashtapadi ``Maam Iyam'', describing the mischievous lover Lord Krishna, was lively while the padam `Varugalamo' depicting the agony of the devotee Nandan, did not create much impact.

Aiyappan from New Delhi conducted the recital with dignity assisted ably by Hariprasad (vocal), Vijayaraghavan (violin) and Anil Kumar (mridangam).

NANDINI RAMANI

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