Art revisited
|
Swapna Sundari offered a glimpse of ancient dance forms practiced by women artistes of east and west Godavari districts.
|
Danseuse Swapna Sundari.
SWAPNA SUNDARI is perhaps the youngest dancer who was presented with the national title of `Padma Bhushan' in recognition of her research into ancient dance forms and in revival of the long lost dance art forms, practiced by women artistes of east and west Godavari districts. She had given glimpse of what she gathered and put into order, in her recital for the dance organisation, `Parampara', at Sundarayya Kala Kendram, recently.
Swapnasundari is adept at other Indian classical styles of dance especially Kuchipudi and Bharatanatyam. Creativity in `abhinaya', never crossing the limits of tradition is her strength, was in full view in her presentation of `sancharies' in the `abhinaya' part of `varnam' and a `Javali' she came out later and the concluding `Parijatham', akin to `Bhamakalapam' of Kuchipudi.
Lost and found works
The programme she gave comprised such lost, found and reconstructed works of ancient poets and dancers. These dances were either court dances (Kacheri Aata) or those presented to public at special gatherings. Swapna collected and regrouped them and gave a name - `Vilasini Nritya', as these dancers belonged to the then existing Devadasi system, serving temples, following rules of Agama Sastra. Some of these dancers travelled to Tamil Nadu due to lack of patronage in Andhra. Their dances came to be known as `Sadir Natyam' there. Tanjavoor Nayaka kings patronised them more.
Other dances based on Srikrishna Parijatham were also developed into full-fledged dance drama both by these Devadasis of Godavari districts and Kuchipudi artistes in Krishna district.
Maddela Lakshminarayana gave swapna her repertoire, along with their choreography and its music. The invocatory, `Vinayaka Stuti' itself set in the ancient tradition of temple dance had typical movements with a swing to either side of her body, characterising the style. Then came a `Swara Pallavi', another typical number set in `Arabhi'.
Good footwork
The footwork too was typical in variegated rhythmic changes in `Adi Thalam'. The number gained significance because of traditional `Choornika' (a lyrical pattern). Then she came out with a long `varnam', `Eraa Sami Nannelara, Koppu Lingeswara', dedicated to Lord Siva, set in `Bhairavi'. It was a trying and exercising number to any artiste that ran almost for an hour, with gait variations, incorporating a typical footwork, presented in finishing stages.
The `Javali', `Aasa Padaku Pora', in `Athana', was enough to talk volumes of the artiste's power of imagination and her ability to present `bhava' in myriad ways, while the lyrical line constantly repeats like in `neraval'. The heroine of the theme just spurns the advances of her suitor. That is the entire theme.
`Satyabhama Parijatham', with Swapna playing Bhama was the last number. Swetha's melodious vocal, Chennai K.V. Mohan's nattuvangam, Tanjavur Kesavan's mridangam, Ravikiran's flute and Anil Kumar's violin went in step with dance, enhancing impact of each number. It was a wonderful programme worth watching any number of times, for its potential of unending creativity.
Reverberating tunes
It is well known that the kirtanas of Bhakta Ramadasu, fore runner of Thyagaraja, were being sung in households even before Thyagaraja was born. Thyagaraja himself is said to have been inspired by these compositions and continued the mission of Ramadasu in composing songs on Lord Sri Rama.
Renowned voco-violinist, Komanduri Seshadri, rendered the kirtanas of Ramadasu last week at Thyagaraya Gana sabha, retaining the classical fervour intact.
Adept at writing lyrics, Seshadri is conscious of "sahitya" beauty especially when he was rendering them.
Illustrious son
Venkata Krishna, also a voco-violinist moving in the footsteps of his father Seshadri, lent an understanding support. It was not following but rendition in unison. Burra Sriram was on mridangam.
Seshadri also well known for his lecture demonstration explained the lyrical beauty of Ramadasu kirtanas. He opened with the popular slokam - "Sri Ramachandra" in Saurashtram and then rendered "Takkuvemi Manaku" in the same raga that assures one the very presence of Sri Rama constantly by one's side-the ultimate goal in one's life.
Admirably the necessary melody was maintained throughout the programme. `Kambhoji' was then sung in depth with its dignified appeal and rendered popular kirtana in — "Emayya Rama" — that attained the status of a prime concert piece. He rendered some more kirtanas, all adding to his repertoire.
G.S.
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
