Devotion in varied forms
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The remarkably expressive dancer Padma Subrahmanyam had Bhakti for her theme
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PHOTO: M. KARUNAKARAN
A CONSPICUOUS GAP Padma Subrahmanyam's performance was not up to the mark; the inadequate music ensemble was probably the reason
Bhramara Trust of Y.T. and Madhuri Thathachari and Dhvanyaloka Centre for Indian Studies Trust, jointly presented Bharathanatya feature, "Purandara Smarane" by danseuse Padma Subrahmanyam. On this occasion she was honored with the Bhramara's Life Time Achievement Award.
The theme focused on different forms of Bhakthi: Shravana Bhakthi, Keerthana Bhakthi, Smarana Bhakthi, Padasevana Bhakthi and so on.
The danseuse portrayed characters like Madhvacharya, Ajamila and narrated mythological sequences such as Gajendra Moksha, Draupadhi Vastrapaharana, Ahalya Shapavimochana and the like in sanchari bhavas.
Curiosity naturally prompted for an overview of Padma's visualisation and its implementation when she presented "Hidako Bidabeda" (Purandaradasa) in the varna format. In the first place, contribution from the music ensemble was inadequate - arid without synchronisation, verve or drive. Perhaps this was one of the reasons for the dancer being unable to get into the desired depths commensurate with her manodharma. A greater emphasis on well-framed adavus incorporating picturesque postures with acute stances would have made the pure dance sections more attractive. Further, it also established the irrefutable importance of symmetrically and precisely placed cute nriththa hastas. This, simultaneous with subtle body movements, beautified the nriththas and made it a memorable accomplishment.
Padma was accompanied by Vijayalakshmi Krishnamurthy and Lakshmi Vaidhyanathan (vocal), Thanjavur Subbaraya Babu (violin), Devaraj ( flute), B. Kannan Balakrishnan (veena) and Nagai Shriram ( mridanga ).
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M.D. Pallavi's Sugama Sangeetha performance under the auspices of N.R. Mohalla Sangeetha Sabha featured the lyrical exuberance of Kannada poets of outstanding scholarship and profound understanding.
Her seasoned voice swept over the octaves with least efforts. She could inflect her voice in any manner to suit the needs of the moment. "Ajam Nirvikalpam" on Lord Ganesha carried majesty and grandeur, instilled with heightened awareness. Kuvempu's "Muchchu Mare Illade" voiced the poet's intellectual responsibility and deep insight in pursuit of the truth in every being. It was not just a narration that relied on the right tune or on the merits of her voice or upon content. It was her absolute involvement and which was instrumental in successfully strengthening her endeavors. It transformed the latent feelings into perceptible emotions.
She did ample justice to great poets' intuitive creations like "Nee Sigadhe Balondhu Bale" (N.S. Lakshminarayana Bhatta), "Deepavu Ninnade Galiyu Ninnade" (K.S. Narasimha Swamy) and few selections from Mankuthimmana Kagga (D.V. Gundappa).
H. L. Shivashankara Swamy (tabala), Vishwanath (mandolin), Ganesh Bhat (keyboard) and Amarnath (shekere) emotively supported the singer.
Correction: "Nannu Vidachi Kadalakura" of Shri Thyagaraja is composed in Rithigoula and not in Natakuranji as mentioned in this column last week.
V. NAGARAJ
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