Blend of philosophy, rhythm
RUPA SRIKANTH
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Lakshmi Ramaswamy laid stress on grace while Aparna impressed with her soft approach.
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Photos: R. Shivaji Rao and S. R. Raghunathan.
Lakshmi Ramaswamy
After engaging with many thematic group productions, Lakshmi Ramaswamy returned to margam in her solo performance for Kartik Fine Arts. She is a senior student of Chitra Visweswaran, and now runs her own dance school, Sri Mudhraalaya. Actually, one of the brightest sparks of the evening was young Archana Mahesh, a student of this institution, who conducted the recital with admirable authority.
Two padams, one from a nayika's point of view and another from a nayaka's, were juxtaposed well. The former was a Punnagavarali composition, `Neela Vaanam Thanil' by Oothukkadu Venkatasubbaier and the latter was the more interesting `Chittike Vesite' by Sarangapani in Kalyani where Krishna reacts to a girl who refuses his advances.
Lakshmi is maturing as a performer, but there are areas that she needs to look at. In the varnam, `Devar Munivar Thozhum Paadan' in Shanmugapriya ragam, Adi talam, by Lalgudi Jayaraman, the lilting Vazhuvoor teermanams were performed with grace and accuracy, but the energy levels were far short of what is generally expected. The adavus that need a spatial dimension to be visually exciting were too grounded to be effective. The sancharis in the devotional piece tested the dancer's storytelling skills. They proved lucid but could do with some editing.
Aparna Chittaranjan.
A navaragamalika keertana penned by Professor Raghuraman and set to music by Jayamangala Krishnamani was a challenge for Vanathi Raghuraman, who was otherwise melodious. Kalaiarasan on the violin helped the singer navigate this composition with his excellent bowing.
B.N.Ramesh (flute) and Vedakrishnan (mridangam) were also admirably involved throughout. Though tired, Lakshmi juggled both the philosophy and rhythm in this complicated finale with reasonable skill.
Serene style
The mother-daughter duo of Meenakshi Chittaranjan and Aparna shared stage-space, the former as guru and the latter as her student. Both share a similar soft approach; in Meenakshi's case, the nattuvangam was an exercise in restraint that did not sacrifice its accuracy, while in Aparna's case, the same gentleness and restraint amounted to a serene style.
Dressed in an aesthetic mauve and gold sari, Aparna was a bit diffident in the opening Pushpanjali and Kali Kavuthvam, but warmed up soon enough for the Thanjavur Quartette varnam in Khamas ragam, Adi talam, `Samiye Azhaithu Vaadi.'
The rhythmic teermanams of the Pandanallur style were well-intoned by Meenakshi, and were performed with grace, accuracy, good footwork and excellent azhutham. Attention to symmetry in movement and giving more energy to execution will certainly go a long way in creating a better impact.
It was interesting to note the positive aspects of love being brought out in the dramatisation of the sahitya. Artistes these days tend to skip the happy part and fast forward straight to the viraha mood. There is clarity of thought, but Aparna needs to work on refining her dramatising skills. There is an unnecessary shaking of the head as also an awkwardness that can be overcome with some effort.
The Sahana padam, `Mogudochi Pilachedu' required more depth and subtlety to convey the distress of a young woman who is taking leave of her beloved Krishna to join a man she was wedded to in childhood. There is so much in the mosaic of the woman's psyche that can be explored and savoured, that it needs intense involvement to bring out.
Musically, Gomathi Nayakan (vocal) and Kalairasan (violin) complemented each other well and set the mood every time, while Shakthivel (mridangam) and Pandanallur Pandian (assistant nattuvanar) provided accuracy in beat. The programme concluded with a charming tillana of Lalgudi Jayaraman in Mohanakalyani, Adi talam.
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