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Royal works in focus
Sucheta Chapekar... lively patterns.
THE SEMINAR on Dance at Kartik Fine Arts, inaugurated by the Senior Prince of Thanjavur commenced with informative lectures by Mr. P. Perumal, conservator and T. N. Viswanathan, Telugu Pandit, both from the Saraswati Mahal Library. Mr. Perumal spoke at length about the different collections, the script used and the mode of preservation of these with slide projection. Mr. Viswanathan, who has edited several works from the manuscript collections, focussed on the cultural contribution of King Shahji of Thanjavur.
The interesting part, however, was the lec-dem by danseuse Sucheta (Bhide) Chapekar from Pune who presented a comparative analysis of the compositions of Shahji and Serfoji. Sucheta described the compositions of Serfoji as novel and imaginative. She referred to him as the forerunner in developing the idea of a solo theme (Ekartha) through compositions. A lively Padam of Shahji on the glory of Lord Tyagesa of Tiruvarur was presented by Sucheta describing the gift of jewellery and silken cloth that Goddess Parvati receives from Her Lord with utmost faith and which later turn into snakes and tiger skin. This was followed by another Nirupana Daru composition of Serfoji. Sucheta's years of dedicated work and training in the sphere of Thanjavur dance compositions in Marathi, came out even more forcefully in her evening offering based on more of these compositions.
A Swarajati of Raja Serfoji, explaining the advice of the elderly woman to the new bride, the code of behaviour to be adopted towards the bridegroom, Sanga Baanga Tu, was an enjoyable number with apt sancharis and lively rhythmical patterns. Also the boldness of the heroine who questions the Nayaka on his return from the other woman's abode, set to Begada raga (Sakhi Yata) by Thanjavur K. P. Kittappa Pillai was very impressive. A noteworthy feature was that the main singer gave excellent vocal support, with a clear diction, commendable because the lyrics were in Marathi, Sanskrit and some in Telugu. The singer never looked into any notebook as done by most singers these days.
Tillana was the topic of the second day morning event when three contemporary composers of this musical form, M. Balamuralikrishna, Lalgudi G. Jayaraman and Madurai N. Krishnan were honoured. Tillana compositions of this trio and those of Karaikudi R. Mani (by Rajeswari Sainath) were taken up for discussion and demonstrated, while Sulochana Pattabhiraman, S. Rajeswari and Dr. R. Kausalya spoke as resource persons on this subject. Dance demonstrations of Tillanas of the trio were presented by the disciples of Chitra Visweswaran (Lalgudi Jayaraman), Saraswati Sundaresan (Balamuralikrishna) and Sudharani Raghupathy (Madurai N. Krishnan). The seminar on the final day was devoted to a panel discussion on Bharatanatyaam _ Concepts and Perspectives, with participation from leading personalities in the field of Bharatanatyam.
Refined abhinaya
Dr. Neena Prasad's Mohiniyattom on the second day was marked with dignity and sensitivity. Neena's long years of training and commitment were evident in her presentation. The highlight of her recital was the main piece set in a Pada Varnam format (Kandarpa Vijita), revolving round the legend of Mohini bringing the nectar from the churning of the milky ocean. Neena's artistry was evident in her refined abhinaya improvisations. Equally appealing was her handling of the three stages of conflicting emotions tormenting Radha towards her beloved Lord Krishna whom she finally meets at the creeper-house and realises Him as the very form of the supreme Narayana. Neena revealed beautifully the ecstasy of Radha as she sees Krishna. There was a touch of tranquility, mingled with the beauty and graceful technique of Mohiniyattom when Neena danced with deep involvement.
Madhu Natraj Heri, a talented dancer of Kathak and contemporary forms, from Bangalore, gave a pleasant performance. Sadly attendance was thin, so much so that the artist requested the scattered members of the audience to occupy the front seats. Probably the timing was wrong, 5 p.m. too early especially when the festive mood is yet to set in. Most of Madhu's items have been choreographed by her mother and teacher Maya Rao, wellknown exponent of Kathak and choreography. Madhu has a striking stage presence and she danced with ease, fulfilling the basic requisites of this dance form with care. The best of Madhu came in through the main piece, ``Yasodhara," a composition of renowned poet-composer Masti Venkatesa Iyengar, centering around the episode of Yasodhara, wife of Prince Siddhartha. The narrative explains the agony and a note of refusal on the part of Yasodhara who asks the reason for his walking away in the dark of the night. After she gets convinced by his reply, she asks to be initiated into Buddhism. The Buddah first refuses and later complies. This short narrative brought forth the skill of Madhu as a dancer of merit as well as her aesthetic sense for costume.
The simple, and tasteful choice of colours added a new dimension to her thematic presentation. Two of Maya' students, Sankhya and Aparna, exhibited firm grip over aspects of Nritta in the number (Tiruvat) that followed and later in their joint effort with Madhu in a Tarana composition. Madhu had employed well-recorded music for this programme.
NANDINI RAMANI
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