Dance like a woman
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Puja Allepalli shines through her performance. A. Ramalinga Sastry
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Photo: C.V. Subrahmanyam
Grace and poise Puja Allepalli proves her mettle.
Friends and well-wishers of the US-based exponent of Bharatanatyam, Puja Allepalli, and connoisseurs of classical dance, organised her recital at Kalabharathi last week. Serenely surfacing the eruditely accomplished danseuse in her with lithesome grace, Puja started her recital with Nandichallu (Vasantha Aadi — Trisranada), depicting the dance done by Nandi in praise of his lord Shiva. Then she adored Amba in sublime dance vocabulary as Mahalakshmi in particular. She gracefully visualised how the Goddess emerged as a result of churning the Ksheerasagaram exploiting the elaborate musical form that adorned the lyric Nityakalyani to the hilt. It was set to Roopakatalam in Raagamalika and Gatibheda swaram also rendered in the same Ragamalika in the reverse order.
Kshetrayya padam Etuvanti Vaade Veedu in Misrachapu in Kalyani next chiefly was Srungara oriented. But Puja, by way of depicting the amour between Radha and Krishna, also sensitively showcased all the other eight rasas adeptly. Dance for Krishna Nee Begane Baaro next, literally seemed to be a scientific transliteration of the emotional content in the lyrics into empathetic vocabulary of nrityabhinaya. Similar was the scintillating padasanchalanam in the nritta performing a thillana in Hamsanandi.
Nattuvangam by L. Subhasri, evocatively melodious vocal by Deepti Srinadh, flute with a similar effect by Narasimhamurty and precisely perfect beat on mridangam by Janardhan, all from Chennai, helped sustaining the tenor and tempo.
Thus, Puja, leaving an impression as if the figures in splendid dance postures from ancient sculptures came sequentially alive on the stage, adeptly with alacrity and acumen achieved a fine blend of aangika, mukkhcha and saatwikaabhinayas. No wonder, she danced her way into the hearts of all.
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