Proficient and accurate

RUPA SRIKANTH

Performers at KFA impressed with their sincerity.

POLISHED ADAVUS: Archana Narayanamurthy.

Archana Narayanamurthy's industry is her biggest asset as was evident again at the Kartik Fine Arts festival. She is also blessed with an expert teacher in Pandanallur Pandian that makes her path towards proficiency so much simpler. Her well-finished adavus and accurate geometry are proof enough of a growing maturity. What she needs to do is attend to araimandi stance and her overall posture.

Pandian's nritta composition and rendering are always crisp and enjoyable. It was no different this time. One was impressed with his little choreographic forays as well. While praising King Sethupathy Bhoopala in the Vaschaspati ragam, Adi talam varnam composed by Meenakshi Sundaram Pillai, the introduction of a Gambhira Nattai Mallari provided an interesting add-on.

Similarly appealing was the stringing of adavu korvais in between the musical phrases in the jaya ragamalika tillana composed by Dr. Balamurali Krishna in Adi talam. But what was not was the Kathak-dominated korvai in the end.

The varnam and the tillana were high-energy presentations where the dancer' s good stage presence and strong foundation in footwork and hasta prayogas came to the fore. The expressional segment too with Kshetrayya's `Choodare' and the javali `Nee Matale Maayanura' was handled with sensitivity. Archana should guard against inadvertent open-mouthed expressions.

The supporting orchestra was of a high standard. Roshini (vocal) was melodious throughout. Sigamani (violin) provided good support while the time-keeping handled by Pandian (nattuvangam) and Viswanathan (mridangam) was accurate and responsive to the dancer's requirements.

GRACEFUL AND PRECISE

Dancing as a duo involves much more effort in terms of coordination and accommodation.

In their programme for Kartik Fine Arts, the sisters, A. Nandini and A. Kalyani, had one more problem and that was the cramped space on stage in the Narada Gana Sabha mini auditorium. But they overcame these challenges and provided an enjoyable fare.

Nandini and Kalyani.

Small adjustments made to the solo choreographies by Guru K. J. Sarasa made a difference right from the opening Mallari. Especially so in the ragamalika varnam, `Samiye Allaithodi Va,' the dancers played out complementary roles of the heroine and Siva or the heroine and the sakhi, adding one more dimension to the situation without taking away from the fundamental aesthetics. Another interesting interpretation was the visualisation of the heroine's maya when she is in viraha.

The timing of these young collegians allowed for clear-cut role play without ambiguity. Lilting teermanams intoned with accuracy by dancer Ramya Rajeshkumar and K. J. Seetha were another point of reference in the varnam.

Nandini and Kalyani were graceful and precise though a more conscious araimandi would have helped this picture of well-practised ease.

A stiffer posture is also necessary for the dancers. Annamacharya's composition, `Bhavayami' in Yamankalyani ragam was presented with delicacy by Kalyani.

Vatsalya bhava found full rein vis-a-vis the divine child Krishna. Nandini in the Poorvikalyani javali, `Nee Matale Maayanura' was also effective as an affronted samanya nayika.

The other members of the excellent orchestra were the melodious Girija Ramaswamy (vocal) Sigamani (violin) Ramesh (flute) and the quietly supportive Shakthivel (mridangam).

© Copyright 2000 - 2009 The Hindu