A jugalbandi of Pandanallur Simhanandini

A jugalbandi of Pandanallur Simhanandini
Highlights

Rajeshwari and Vyshnavie’s performances on day two of the six-day cultural fest were a feast for the eyes. The Pandanallur style of Bharatanatyam and Simhanandini dance were presented with aplomb

Rajeshwari and Vyshnavie’s performances on day two of the six-day cultural fest were a feast for the eyes. The Pandanallur style of Bharatanatyam and Simhanandini dance were presented with aplomb

Renowned danseuse Rajeshwari Sainath, her daughter Vyshnavie and disciples presented Bharatanatyam dance ballet on the second day of the six-day SICA Cultural Fest 2014 at Ravindra Bharati to an august audience, which included the likes of legendary Telugu director K Vishwanath. Titled ‘Spectrum’, the performances of the day by the danseuse and her troupe were marvellous.

The first item of the evening was Cosmic Dance of Siva by Vyshnavie and team. It was a show of Thandava Nrityam, symbolising the cosmic cycles of creation and destruction. It showcased birth and death as a natural phenomenon with rhythm and astute abhinaya. The symmetric presentation attracted the audience and the foot work was superb. Bhavabhinayam was good and Vyshnavie made use of her flexibility and energy in the performance particularly in the Thandava postures of Shiva.

‘Varnam’, was the next item in the ballet and it was presented by Rajeshwari Sainath in Pandanallur style of Bharatanatyam. Rajeshwari’s abhinaya captured the essence of Nayaki’s (female protagonist) emotions, which were conveyed to the Lord via a bird. The nritta, abhinaya and foot work are amazing and the young dancers have to take a leaf out of her book. Her decision to use Subbudu’s work “Anname Aruginilva” in valaji ragam set by Karaikkudi Mani enhanced the beauty of the presentation.

Varnam was followed by Vyshnavie’s Simhanadini dance, a format popularised by Voleti Rangamani, a renowned exponent of Kuchipudi. Vyshnavie chose a challenging item which was set in ragamalika and thalamalika and executed it with aplomb. This was followed by “Yennadan Mayam Irikdadi”, a padam, which was presented by Rajeshwari. The magic of Krishna’s flute was attractive and perfectly captured through her abhinaya. Then the team moved on to an ancient martial art item of Kerala, Kalaripattu, which was presented by Vaishnavi and Raja.

The thillana item in Sindhubhairavi raga was a pleasing presentation, wherein disciples seized the opportunity to exhibit their talent. Koka Hiranmayi, Sreenidhi Saithej, Tharuni Sanjay, Preethi Padmanabhan, Sanjana Umesh, Sahana Umesh and Ainnarappan Raja’s efforts were commendable.

On the flipside, the music was recorded and it would have been more appealing if the team would have used live orchestra. It’s high time we learn from western countries and furnish brochures detailing lyrics and their meaning so that the audience will have an enhanced experience having known the meaning of the krithi to which the dancer was presented. In the name of innovation, let us not force our traditional dance forms into a foreign texture, the sanctity of the dance form has to be intact.

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