Experience shows
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Shailaja Ramji presented confident and uninhibited portrayals.
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SHAILAJA RAMJI Photo: K. V. Srinivasan.
That Shailaja Ramji is an old Bharatanatyam hand was obvious from the comfort with which she handled the opening taalamalika Thiruppugazh. She did not seem to make any special effort to keep count. Nor did the challenges within this or any other piece seem to affect her. But when the same casualness extended to the execution of pure dance sequences, they looked unfinished.
Shailaja is a senior student of Sudharani Raghupathy and runs a satellite dance school, Silambam. Even as her experience and commitment speak through confident and uninhibited portrayals, there is a disarming innocence to her enthusiasm. She should tighten her body alignment to add more rigour and geometry to her performance.
The programme was a harmonious blend of good music by Sharanya Krishnan, vocal and Muruganandam, violin; good timekeeping by Priya Murle, nattuvangam, and Dhananjay, mridangam; and good coordination between the orchestra and the dancer. Priya spearheaded the proceedings capably, providing guidance to the whole ensemble.
The Tanjore Quartet-raagamalika varnam in Rupaka taalam, "Sami Ninne Korinanura," was an exercise in restraint. It flowed smoothly with clockwork precision and delighted in its familiarity. The theermanams had an old-world charm about them that can never be replaced by modern choreographers.
"Oruthi Maganai" (Behag) told the story of Krishna's birth succinctly. Equally evocative was Andal's "Payan Kili Vannan" in Tilang. But Shailaja was most convincing as the bold nayika in the Begada raga "Yaarukkagilum Bayama." The music for the three compositions was most alluring. Rupa Srikanth
RUPA SRIKANTH
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