Vivacious artiste
Alarmel Valli
THERE WAS not a dull moment in the Bharatanatyam recital of Alarmel Valli at the Narada Gana Sabha. This internationally famous dancer has represented India at various prestigious cultural forums and impressed audiences. She has intelligently sculpted an attractive filigree of nritta and abhinaya on the strong foundations laid by natyacharya Pandanallur Subbaraya Pillai. This petite, agile, graceful and vivacious artiste was a picture of self-confidence on the stage. Well-known features of her dance are her joyous nritta marked by midukku with liberal use of ottam (running) adavus, light aerial movements, incredible coverage of stage space, a kulukku in her walk, a certain alakshyam as she flicks her wrist in the ullaasa nadai, pronounced attami, coquettish glances and slant of the neck, a judicious combination of mukhaja and angika abhinaya and of course, her very eloquent introductions to the items she performs. Valli's Bharatanatyam recital that evening was typically so.
She commenced the dance with lines from the Paripaadal in praise of the all pervading Supreme Power, ``Anaitthum nee, utporulum nee," set in Gaurimanohari raga. She depicted the beautiful imagery inherent in the lyrics. The abhinaya was interspersed with vibrant nritta.
Valli then breezed through the varnam, ``Sami nine" in ragamalika Roopaka tala, a composition of the Thanjavur Quartet. The nayika appeals to Lord Siva to come to her saying that as the sun is to the lotus, the tree to the creeper and the sea to the river, the Lord of Tanjaipuri is to her. She describes his beauteous form and her longing for him. Valli also portrayed the colourful temple procession of the Lord and offered her obeisance to him, which added the spiritual touch to madhura bhakti.
Valli had very good support from every member of the orchestra: C.K. Vasudevan (nattuvangam), Latha Ramchand (vocal), Sakthivel Muruganandam (mridangam), Ranjani Ramakrishnan (violin) and N. Srinivasan (flute). Latha's singing was firm and clear. Ranjani came through as a very good violinist with poise and serenity. She deserves a special word of appreciation for her raga delineations and the lovely melodious rendering of the kriti ``Bhajare re manasa" which she played as a time filler during the (dress-change) intermission.
Valli is famous for her interpretation of Sangam poetry and she adds a contemporary sensibility to the old lyrics. She presented an interesting story from the Kalitogai about the love between an enterprising bold woman and a shy diffident man, both of whom do not make the first move for a long time. Finally it is the lady who does so. Valli presented this ragamalika piece (set to music by Prema Ramamurthy) with a touch of humour.
In the Tamil padam ``Ithaivida innum veru venduma sakshi" in Saveri, Valli brought out the hurt, anger and sarcasm of the heroine who on seeing the telltale signs on the nayaka, asks him: ``What further proof do I need of your dalliance with the other woman? Don't try to pacify me!" The last item was a paean to Mother Earth, from the Purananuru, set in Vasanta raga/Adi tala, presented in the form of a joyous `swaralaya' it had jatis alternating with musical interludes. Valli's nritta and angika matched the nuances in the music.
In Valli's recital, her enjoyment of the music and the dance was palpable and infectious too. However, one wished one could be transported on an inward journey to experience that elusive stillness that touches a chord somewhere within!
JEMINI
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
