In the Margam set by the guru

Vamsi Madhavi, an alumna of Kalakshetra, presented a sweet and short Margam, dedicated to her guru, Rukmini Devi Arundale, at Saptaparni on Sunday evening. It was surprising to note that the audience comprised engineering undergrads from IIIT, Gachibowli.

Madhavi’s Bharatanatyam costume was striking and that was what caught the eye first. An elegant and very traditional bottle green, the saree had a magenta border. It was unlike the riot of colours that is presently in vogue for dance costumes, the hues mostly clashing, but not complementing. With a smiling face and dimples in place, she commenced her performance with an invocation, aptly called “Spandana” (Nandichol).

The word Nandichol refers to those syllables that originated from the Nandi’s mridangam to which Lord Shiva danced. This was choreographed by Sheejith Krishna of Kalakshetra, while mridangam syllables were provided by Ramesh Babu. Grace combined with precision marked Madhavi’s rendition of this number.

A Pada Varnam in Sri Ranjani Ragam that speaks of the nayika's longing for the six headed ‘Shanmukha” was the next to be taken up. The varnam was in “dootika bhavam”, where the sakhi pleads with the lord, portraying him as a valiant hero who was born to annihilate the demon, Tarakasura. She earnestly appeals to Muruga – to have pity on her friend (nayika) who is so devoted to him, right from her birth, chanting his name while refusing all worldly pleasures, wilting like a flower in her pursuit and waiting. She requests Muruga to rush to her rescue without further delay.

Music for this varnam was composed by Papanasam Sivan and dance was choreographed by Arundale. Madhavi’s presentation of this classic piece marked perfect nritta combined with subtle and refined abhinaya. Madhavi presented a padam, “Indendu Vachitivira” by Muvallur Sabhapati Iyer, in Surati Ragam.

The protagonist here, a Khandita Nayika is enraged with her lover for being unfaithful to her. Madhavi portrayed the heroine’s conflicting emotions, sarcasm and disappointment with subtlety. For a padam, a more pronounced emotional display from the dancer would have emphasised all the above sentiments.

The concluding item was a thillana in Hamsanandi, choreographed by Pushpa Shankar and music compiled by Dhandayudhapani Pillai. The lyrical aspect of nritta was well brought out by Madhavi, with postures and exquisite patterns of movements that were joyous and unrestrained. Lauding Madhavi’s tribute to Rukmini Devi Arundale, senior alumni of the legendary institution, Ananda Shankar Jayant and Vasundhara Thomas, spoke fondly of Athai (Arundale), reminiscing about their times in Kalakshetra.

By:Vijaya Pratap