Mastery of rhythm on display
GUDIPOODI SRIHARI
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A small stage is no drawback for a good artiste.
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Photo: K.Gajendran
ABHINAYA SKILLS Rajeshwari Sainath showcases clarity in miming the theme.
Thyagaraya Ganasabha is a stage of lesser dimension for a Bharatanatyam artiste to display footwork with abandon . One could notice this when Bharatanatyam exponent Rajeswari Sainath gave a performance as part of a three-day festival organised last week under the auspices of Nada Tarangam Trust, in collaboration with Thyagaraya Ganasabha.
Rajeswari is one of the few Bharatanatyam artistes who have mastered the complex footwork structures, presented as part of varnam.
Over the years she sharpened her style under the tutelage of that `master of rhythm', mridangam player Karaikkudi Mani, who seems to have set a new orientation to her dance style, adding some intricacies in the rhythmic science of Bharatanatyam.
Rajeswari, a good choreographer herself, could structure well some of the themes relating to gods and goddesses that come as part of the abhinaya, which could be seen in her Varnam, the major attraction of a Bharatanatyam repertoire. Rajeswari was accompanied by her daughter Vaishnavi. She was given the opportunity to open the dance show of that evening, with `Ganesha Panchakam' in Ragamalika. Their style belongs to Pandanallur tradition that lays greater stress on pure dance parts of nrutta and nritya. The way she struck postures of gods while dancing her way around the stage like Lord Vinayaka, moving with the gait of an elephant, were well received. Her footwork too mimicked Ganesha in Tandava style.
Then it was the turn of Rajeswari to come out with longish varnam in Valaji. The theme is based on the `Sthala Purana' of the temple of Goddess Meenakshi. It narrated the story of the shrine of Madurai Meenakshi, with detail.
Rajeswari's every expression bore the stamp of purity of style. Clarity in miming the theme elevated her performance. The jatis that came intermittently in between these thematic lines of the composition, were presented with good command over laya. A romantic Javali, a set of slokas on Krishna and a thillana were other interesting numbers that revealed her abhinaya skills.
Chennai Bhavatarini provided impressive vocal support. She is the disciple of the renowned vocalist D. K. Pattammal, who came all the way from Chennai for the performance. Rajeswari's disciple, Amaram Geetha, did the nattuvangam to the percussion support on mridangam by Srinivas. Shiva on the violin, Srikanth on special effects were others in orchestral team. It was an enjoyable dance show of commendable standard.
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