A picture of sophistication
RUPA SRIKANTH
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Rama Vaidyanathan deconstructs dance and sculpts it for maximum effect.
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UNDERSTATED EXPRESSIONS: Rama Vaidyanathan
Not many can boast of Rama Vaidyanathan's sophisticationin dance, where each movement is taken apart, carefully de-constructed and sculpted for maximum effect. Her posture, poetic in itself, adds to the visual opera.
The sophistication also extends to Rama's muted make-up and tasteful accessories. Her expressions too are understated, challenging the viewer to follow her intent.
The dancer's striking visual imagery was especially vivid in the opening Mayurallarippu composed by Karaikudi Sivakumar in Misra jaathi triputa taalam. The movements captured the peacock's grace, with every movement of the head, neck and eye complementing the beat.
The Lalgudi Jayaraman varnam in Charukesi ragam, Adi taalam, `Innum Yenn Manam' was also treated differently. The nayika's prayer was seen in the light of a devotee's changing relationship with Krishna through different stages of her life. Rama's delineation was involved and expressive with a stylishly presented pandattam. The episode in which Krishna hides the gopi's clothes was also sketched sensitively with the accent rightly on the final supplication of the woman. Sivakumar's theermanams were enjoyable , as was Rama's choreography of the chittu and the charana swarams incorporating those infinitesimal but dramatic pauses.
Though the vibrant pure dance part of the concluding `Sivoham' was well planned using the symbolism of Nataraja to great effect, one cannot endorse the context of spirituality that is perhaps better served with moments of silence or introspection. But the most disappointing was the visualisation of a moving Hindi verse `Aansoo Ka Tharpann Hai Ganga' on the relevance of Ganges to different people. A beautiful poem, a beautiful raga — misra kalyaan — superb musical accompaniment; in short, a superb opportunity for an expressional extravaganza that did not take off.
Rama has brought her orchestra from Delhi. Led by expert Karaikudi Sivakumar on the nattuvangam, it comprised composer G.S. Rajan, flute, Vidya Srinivasan, vocal, Lalgudi Ganesh, mridangam, and Viju S. Anand, violin.
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