Where speed was of the essence
TULSI BADRINATH
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Revathi Ramachandran and daughter Manasvini presented margam with an accent on fast nruttam.
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ACCENT ON NRUTTAM: Revathi Ramachandran and Manasvini. Photo: K. V. Srinivasan.
Revathi Ramachandran presented `Natya Laya Manjari,' with her daughter Manasvini. The non-stop presentation of dance retained the basic framework of a margam, while eliminating the lull between the end of one item and the beginning of another.
The varnam's place was taken by the Gambhira Nattai composition of Balamuralikrishna, `Amma Anandadayini,' in praise of the Mother Goddess. While there was ample room for communication through abhinaya, in this main piece and in the abhang `Deena Karunakaraney,' Revathi limited its role. The emphasis throughout was on the display of nruttam, at an escalating speed.
The abhang was performed at such a fast pace that rather than evoking admiration in the dancer's abilities, it proclaimed an opportunity lost — to evoke a corresponding feeling in the rasika of the greatness of the Lord.
Shuddha Nruttam forms an integral part of Revathi's performances. When coupled with the emphasis on jatis and other nrutta pieces such as tillana, it can lead to an overall imbalance. The exploration of bhava and the element of repose are sacrificed for speed and constant visual stimulation. Young Manasvini has an admirable grip over laya. She danced with innate confidence, a quality not often seen even in dancers much older to her.
However, the age difference between the dancers can inadvertently create a problem.
The rasika finds the mood shifting, expecting something mature from the older dancer and something appropriate from a child of Manasvini's age.
M.K. Shyamsundar provided excellent support on the nattuvangam. N.K. Kesavan held the tempo with his skilful play of the mridangam. Sashidharan and Randhini sang well and Kalaiarasan was a strong presence on the violin.
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