Riveting exposition of Khamas in dance

LECDEMS HAVE come to stay as part of the Chennai music season experience. Sometimes they draw a bigger crowd than for concerts, as at the packed Mini Hall, Narada Gana Sabha, when Sujatha Vijayaraghavan, aided by dance guru Rhadha and her disciples, demonstrated the use of raga Khamas in Bharatanatyam.

What made the presentation so riveting and engaging? Why, here erudition and painstaking research were not self-conscious or pedantic but became the foundation for evocative expression of ideas. What Sujatha did was to really share the experiences of a fine-tuned rasika with us. And what a lot she had to give!

Beginning with an introduction of the raga as a Hindustani melody for thumris (sung by Sowmiya Madanagopal) she went into the process of its entry into Carnatic music, paying attention to what it retained from the original, what it added and subtracted, and the many forms of music into which it was enthusiastically, even fervently adopted by a range of composers from Tyagaraja to Periyasami Thooran. In the process, Khamas began to shimmer with different hues which added depth and dimension to what had originally been a light strain, a desya raga. There were technical aspects too, but always with a clear example from various carefully assembled sources, to show how the raga drew in both gandharas, and at times the Kakali nishada.The focus was on the dance and here the ability of the raga to refract a range of moods in sringara itself, as also bhakti and vatsalya, came in for review. The majestic daru ``Mate malayadhvaja'' by Harikesanallur Muthiah Bhagavatar made an impressive beginning, with its coruscating charana swaras wholly cast in swaraksharas, with a strange use of ga-pa-ni-sa to grab the ear!

The varnam (Tanjore Quartette) and the lovely swarajati (``Mamoha lahiri'') by Katikai Namasivaya Pulavar, set to music by Subbarama Dikshitar using his lakshana gyana for packing the swaras with bhava) followed. There was kriti (``Konji konji va Guhane''), Javali (``Chanaro'') padam (``Teruvil vaarano'') and tillana to give a complete picture, with Sujatha's comments on sangita and sahitya adding to our understanding of the individual piece, as well as of the raga's attributes. The sprightly Vazhuvoor style was particularly suited to highlight the sparkling qualities of the raga.

Nitpicking? Well, yes, one missed a male voice to add another dimension, especially as Sujatha's own voice showed signs of flagging towards the end. Also, one must mention the sweet singing of young Kumari Janani (vocal support). You were hardly aware that two hours had passed - and even more remarkably - you had been gripped by a single raga during that time span!

GOWRI RAMNARAYAN

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