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החל ממרץ 2016

28/07/2017

The beautiful Vazhuvur bani, established by Ramaiah Pillai, has been kept alive in its pure form by his disciple Rhadha, who is doing it through her school, Pushpanjali. To commemorate and celebrate her 75th birthday, her disciples had organised an evening of Vazhuvur Margam.

‘Jaya Suddapuri vasa, jaya mahagnana Sabesa’ — the signature Kedara raga invocation of this school heralded the celebration on an auspicious note. The traditional mallari in Kanda Triputa talam visualised the processional movements of deities and the musical accompaniments. The leisurely pace at which it started and slowly gained momentum and speed was impressive.

A Rasikapriya jatiswaram was handled competently by Lavanya Prabhu and Lavanya Venkat and it gained special interest when Rhadha joined them. Age blurred as Rhadha kept pace with the younger dancers, matching them step by step in all speeds — truly commendable.

No short cuts

Rhadha again shared space with Sangita Vasudevan in presenting the varnam, proving that there are no short cuts to the summit. The Sankarabharanam varnam ‘Karunai seithidal agadha’ (Papanasan Sivan) based on the Telugu padavarnam ‘Manavi,’ extolled the story of Kapaliswarar and Karpagambal.

Rhadha’s abhinaya throughout the song was evocative with delicate detailing of ideas without going into any dramatic display. The nuances were many — writing a message, discarding it with disdain, expressing happiness with the final draft, tender handling of the messenger bird, aesthetic depiction of the temple structure and festivals , subtle but powerful transformation from Siva to Parvati with minimalistic gestures — the list would be endless.

Nandini Anand could have underplayed the use of brighas to suit the mood. The nritta segments were crisp, short and packed with graceful flow of movements. The ability to do every adavu, the poise with which she holds one legged postures without faltering and the energy level to sustain the jatikorvais in varied speeds can only be achieved by disciplined, devoted effort through the years, not to mention the strong foundation of learning from a great guru. The different nadais she showed in the final swara passage, highlighted the hallmark of this bani — intrinsic grace of movements. That Sangita was able to sustain interest in her dance sequences while dancing with a refined artiste and guru deserves appreciation.

Kanakadasa’s composition Yadavaraya danced by a few of her disciples narrated the story of Udupi Krishna. The classic ragamalika song, ‘Theeradha Vilaiattu Pillai,’ danced by Rhadha as gopi and her neice Lavanya as Krishna, brought back memories for many in the audience with Kamala dancing as gopi and Rhadha winning hearts essaying the role of the mischievous blue god. The delineation of birds, creepers and snakes to suggest the romantic mood pervading the air was a poetic introduction to the Parakiya nayika in the Patnam Subbramania Iyer Behag raga composition ‘Samayamidhe Ra ra.’ A thillana in Nalinakanti raga composed by Lalgudi G Jayaraman for the Natyanatakam ‘Jaya Jaya Devi’ was the concluding number. The highlight was the lasya-thandava sequence where both in music and choreographic pattern, the difference between the masculine and feminine moves was conveyed effectively.

Nattuvangam by Rhadha and disciples Sunandha Narayan and Sangita Vasudevan was lucid. Nandini Anand and Bhagyalakshmi Shikamani provided vocal support. Guru Bharadvaj (mridangam), Anantha Krishnan (violin) and Sruti Sagar (flute) complemented the singing. Sujatha Vijayaraghavan’s introductions communicated the essence of each song and its background facts.Read more at:short prom dresses | marieprom

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