Of talent, technique
K.K. GOPALAKRISHNAN
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Charulatha Jayaraman's Bharatanatyam recital gave her ample scope for expressive sancharis.
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AESTHETIC AND EXPRESSIVE: Charulatha Jayaraman strikes a pose.
A solo Bharatanatyam recital by Charulatha Jayaraman, an up-and-coming Bharatanatyam dancer from Tamil Nadu, proved her mettle as a dancer. The programme was organised under the aegis of Thrissur-based Navaneetham Cultural Trust at Regional Theatre of the Kerala Sangeeta Nataka Akademi.
Charulatha was eight when she was initiated into the Pandanallur style of Bharatanatyam by Suba Parmar. She then trained under Indira Rajan and is now a student of Subhasini Chandrasekaran. She was awarded the Kalaimamani award by the Tamil Nadu Government in 2000.
Charulatha began her recital with a traditional Pushpanjali in raga Naatta set to Adi talam, followed by a padam `Sivanai ninai maname' in Vijayanagari raga and Adi talam. The main item of the evening was select verses from the Sanskrit scripture `Sri Krishna Karnamritham,' adapted and composed by the late scholar Janavi Jayaprakash. Set to ragam Hindolam and Adi talam, this item was interspersed with episodes from Lord Krishna's life such as `Rasakreeda,' `Poothanamoksham,' the Bhagavat Gita and `Narasimhavataram.' It provided her with good scope for expressive sancharis.
After a brief interval, Charulatha presented a padam `Darisanam thara naataro,' composed in Simhendramadyamam and Adi tala, followed by `Kavadi chindu,' a piece in praise of Lord Muruga in folk style, based on a composition by Annamali Kavi Rayar.
Charulatha concluded her recital with a captivating Thillanna.
Thrissur Janandhanan provided the vocal support. His rendering of Hindolam and the folk song was appreciated. Kalamandalam Prabhal was on the nattuvangam with Thrissur Hariharan on the mridangam and Chalakudy Raghu on the flute. Raghu played so well that one never felt the absence of a violin.
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