Dance Characters from epics came alive when Padma Subrahmanyam presented Bharata Nrityam.
Whether one attends the dance recital of Padma Subrahmanyam, knowing well that she is one of the greatest exponents of Bharatanatyam, or just stumbles into the venue not knowing anything about her, the result is dazed wonder. She can convey the minutest emotions with her large eyes that can laugh and cry, glare and melt. She paints pictures with her movements and expressions. Sree Dhanwanthari Kalakshetra and Divyam, (Dhanwanthari Vidhya Mandir Matriculation School), had
recently organised ‘Bharata Nrityam’ by Padma Subrahmanyam at Dhanwanthari Arangam, Coimbatore, and it proved to be a visual treat.
After depicting the nine types of devotion (shravanam, keertanam, smaranam, pãda-sevanam, archanam, vandanam, dãsyam, sakhyam and atmanivedanam), Padma took up the song, ‘Sri Ramasya Katha Srothram Kuru’ portraying a few prominent episodes from the life of Rama. Ravana, Sita, Ahalya, Bharatha, Lakshmana, Sugreeva, Hanuman, Shabari and Jatayu came alive on the stage. As the sprightly young Shabari collecting flowers and fruits for Rama, a middle-aged woman and later, as an old woman struggling to walk, Padma movingly portrayed the long wait and unswerving devotion of Shabari.
Jatayu’s brave fight with Ravana became immensely tragic when he lost his wings and still kept on the fight as long as he could and finally, fell dead.
‘Someshwaram Bhajema,’ a composition by Swami Dayananda Saraswati, was presented beautifully, highlighting the episode of Markandeya.
Without any change of costume or prop, Padma Subrahmanyam could succeed in making people believe that they were watching what she wanted them to watch.
She took the spectators on a free trip to Tirupati to witness the Brahmotsavam while she performed Annamacharya’s kriti, ‘Veethula Veethula’.
Portrayed in detail
The procession of the Lord on the various vahanas and the thrill enjoyed by the onlookers was portrayed with immaculate detail. She gave a lot but never more than necessary.
Humour was not missing either. She was donning the role of Yashodha and the techniques she employed while trying to make the little Krishna sleep were a lesson to new mothers. The spectators also heaved a sigh of relief along with her, when Krishna finally fell asleep. But it was not to be. As she tip-toed out, her sari was pulled by none other than the little bundle of mischief. There was a wave of laughter among the spectators as each mother present there relived her own ordeal with her child.
‘Ambaa Mahamaayee, Arputha Roopavati’, was a typical folk number filled with speed and imagination with the inseparable items of an Amman festival, karagattam, udukkai and agni-chatti. The song, with its haunting tune, kept reverberating long after it was over. She concluded with a Marathi natya sangeet, portraying Panduranga and Venkateswara.
Vocal support by Gayathri Kannan and Vijayalakshmi was melodious and emotionally appealing. B. Kannan’s veena was powerful. The beautifully synchronised orchestra with the mellifluous violin and a dancing mridangam created the right musical ambience.
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