Gracefully perfect
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Kathak dancer Vaibhavi Joshipure's performance had a meditative quality to it
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Kathak dancer's Vaibhavi Joshipure's performance will remain etched in the hearts of connoisseurs for its palpable quietness. The laya, which was perfect, never overtook the overall mood that was created. Her performance at Yavanika in the EFCEP series was introspective. Trained by the renowned exponent of Kathak, guru Kumudin Lakhiya, Vaibhavi's captured most moods with her netrabhinaya, even as there was an economy of gestures.
Her selection was good. She began her performance with had a good selection of items too. Her recital began with a salutation to Naada Brahma, an abstract theme. However, one missed the key points while defining the theme in the dance language. The popular "Dhamaru hara-kara baaje" was utilised well to sketch the traits of Lord Shiva. Vaibhavi's abhinaya was apt. The dancer's nritta had a scintillating hard-edged clarity of outline. The razor-edge sharp aamads, todas, parans and chakkars in the framework of jhap tal (10 matras) and joi tal (13 matras), her rapier like glinting green eyes following every movement to perfection, and her tihais and the the tatkar building up to a rhythmic climax with 3,4,7 syllabic groupings had all the surefootedness of one who is at home with the grammar of the style. She had chosen a Meera bhajan "Hari tum haro" and her hold over gat-bhav was evident in this number. One did not understand as to why she again reverted to the exposition of nritta after the presentation of a thumri. The recorded music was handled neatly.
Violin duo
The musical creations of seasoned violinist-duo Lalgudi GJR Krishnan and his sister Lalgudi Vijayalakshmi seemed to derive their personality from a linear grace and symmetry, a compactness of design, execution and ideas. Their performance at the Govt. Fort High School premises for Sri Rama Seva Mandali, Chamarajpet, was of great enjoyment. Hailing from a hoary tradition and family of musicians, the duo unleashed their unfathomable manodharma. Though not complex, interesting laya (teermanas in particular) patterns pervaded the concert.
Vibrantly supported by V. Praveen (mridanga) and Giridhara Udupa (ghata), the violin duet started with a varna in Devagandhari raga. Rarely heard "Sri Narada" (Kaanada) was rounded off with scholarly swaras. Saveri and Reetigowla ("Nannuvidachi") provided both artistic and aesthetic delight. The clairvoyant violinists, with a unique vision and melodic logic lodged in their bosom, drew a glowing picture of Kalyani for "Vasudeva eni". But the swaraprastara could have been more endearing and interesting.
M. SURYA PRASAD
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