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Thematic presentation
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Vidya Venkataram sprang a surprise by packing her recital with a string of compositions in praise of Lord Nanjundeshwara of Nanjangud
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PICTURE PERFECT Vidya regaled the audience with her well-honed artistry
It evokes a lot of interest when there is a thematic presentation of Bharatanatya in the Marga format. Such an elevating experience was created by young dancer Vidya Venkataram when she unveiled the beauty of Bharatanatya through her programme entitled ‘Mahakaaloham’ at Ravindra Kalakshetra.
Vidya is also an acknowledged film and television actress. She is the granddaughter of the late veteran dance Guru H. R. Keshavamurthy, and daughter of B.K. Vasanthalakshmi and popular theatre activist, the late Venkataram. Vidya has been trained by her mother.
Thus it is but natural that she has dance and acting in her blood. All the positive aspects of such a background were conspicuous by their presence in her Bharatanatya.
Vidya sprang a surprise by packing her recital with the compositions in praise of Lord Nanjundeshwara of Nanjangud. Veteran flautist-composer Dwarki Krishnaswamy’s compositions served Vidya’s purpose, yielding rich dividends. Lord Nanjundeshwara and his varied attributes were graphically sketched in myriad manifestations in a systematic build up.
Assisted admirably by B.K. Vasanthalakshmi (nattuvanga), D.S. Srivatsa (vocal), Natarajamurthy (violin), Narasimhamurthy (flute), Janardhana Rao (mridanga) and Prasannakumar (rhythm pads), her dance was almost flawless.
She began with a Pushpanjali (“Simhendramadhyama”). The King of Dance (Nataraja) was eulogised in the backdrop of various shlokas like “Nrittaavasanakaale”, “Nagendrahaaraaya” etc.
Her movements were in tune with the expounded theme. Though one wished she had used lighting more effectively, her seasoned skills, style of presentation and comfort with the dance form made the Todi jatiswara a pleasant laya experience.
The principal item of the recital was an admirable varna in Kannada. At the outset though, one was a bit confused with the pattern. Vidya regaled lovers of dance with her well-honed artistry. How Lord Nanjundeshwara settled down in Chidambara, how the tiger-skin-wearer Shiva became Ardhanareeshwara, Kaamadahana et al, were portrayed with elan. For this, Vidya utilised the varna (“Initu anukampadindantarangava kele”, Kamavardhini raga) for her best exposition in which the nayaki speaks her heart out to her sakhi. The confluence of sahitya, swaras and jathis with the nritta, nrithya and abhinaya was a treat to watch.
The rendition of a Behag Javali “Sallado Hara ninage” and “Nanjaala koravanji” (Punnagavarali) won applause from the audience. Vidya concluded with a tillana set to Sindhubhairavi raga.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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