Old world charm of simplicity
RUPA SRIKANTH
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Rhadha's timing was perfect, every nuance and gesture unhurried.
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JOYOUS: Rhadha.
Veteran dancer Rhadha's homage to the great composer Maharaja Swati Tirunal in Sri Krishna Gana Sabha, was true in both spirit and expression. The garland of well-known gems was threaded together with care and presented on a platter of humility and restraint, allowing the lustre in each to come through naturally.
While Rhadha's timing was perfect, her treatment of time was noteworthy. Every gesture and nuance was unhurried, following each to completion, reflecting the old world charm of simplicity. But most arresting was the effect of contrasting pace seen in the otherwise straightforward nritta segments that brought out the beauty of timing so effectively.
The theermanams of the Vazhuvoor School are known for lilting sollus and rounded movements that were faithfully adhered to by both nattuvanar and dancer. Credit must be given here to dancer Srikanth who conducted the programme with accuracy and restraint befitting the Rhadha's seniority and style. His oratory during the explanations was also commendable.
Strong impact
Dressed in happy colours of lime green and purple, Rhadha conveyed the same joy in her dance. An unassuming nature and a quiet dignity are winning virtues by themselves and in this case they combine with a sincerity of purpose to create a strong impact. Rhadha's mandi and sarukkal adavus will be remembered for a long time, as will her unflagging energy and clarity in footwork.
Commencing with a Pushpanjali and the Kuntalavarali kriti, ``Bhogindra Sayinam," the programme was a smooth harmony of music and dance. The sancharis like the story of Divakara Yogi and the Saligramam, and the Dasavataara miracles, the latter detailed in the ragamalika ``Kamala jasya," were presented with clarity. The Narasimha avatar in particular shone for its understated dramatisation.
The Kedaram composition, ``Paramananda nadanam" and the concluding Dhanashree ragam, Adi talam thillana, ``Geetamdhuniku" and the theermanam-filled Dasavataara pieces were demanding physically and Rhadha proved herself capable of such rigour even in the height of summer. The beautiful abhinaya compositions, ``Saaramaina" in Behag and ``Aliveni" in Kurinji were also enjoyable, both their familiarity and musicality adding to the effect. Nandini Anand, a melodious vocalist, was at her best in these compositions, notwithstanding a problem in her voice that evening. The supporting artistes — Ramesh (flute) and Sikhamani (violin) provided excellent melody while Vijayaraghavan (mridangam) was as refined as the dancer.
A lifetime of dedication to dance has just been recognised, with the Sangeet Natak Akademi, Delhi, honouring Rhadha. And one can say without reservation that this is an award richly deserved.
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