Good nritta, neat presentation
B.M. SUNDARAM
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Indira Kadambi excelled in abhinaya but could have done with less sancharis.
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IN A WHIRL: The camera captures Indira Kadambi's rhythmic movement in a wave of colours. Photo: Shaju John.
Starting with a Ganapati sloka, followed by an alarippu, Indira Kadambi moved on to the varnam, "Entani Veduko" in Khamas. It was attributed to Subbarama Dikshitar though the mudra "Veera Vasanta Tyagaraja" is that of Ramaswami Dikshitar. Indira did the varnam very well but in the Mallari which preceded, she depicted tavil-playing with sticks in both hands.
Tavil is played with only one stick. Perhaps by way of adapting the tradition, the mridangist played some phrases in khanda gati. Fast neck movements, instead of `Attami' were too many, particularly during the arudi in `taam tari taam.'
Indira's nrutta was perfect in every segment, though her sancharis were a bit too much. Many dancers, in their craze to do abhinaya, begin their movements before the commencement of the lyric — a point made in these columns earlier — and Indira was no exception.
Indira excelled in her abhinaya . It is not just because of her training under Savitri Jagannatha Rao and Kalanidhi Narayanan but also on account of her imaginative skills. "Chikkavane Ivanu," a Purandaradasa devaranama in ragamalika, was enchanting.
The song was alluringly rendered by T.V. Ramprasad.
The next number was "Vadaraka Pove" of Kshetrayya, immortalised by T. Balasaraswati. Indira next presented a Jayadeva Ashtapadi "Kuru Yadu Nandana" well, but depicted everything sitting on the floor!
A.S. Murali did the nattuvangam with Vijayaraghavan on the mridangam, Muthukumar on the flute and Kannan on the violin.
While it is important to wear a smile while dancing, it should not be done while expressing all rasas. And display of teeth while smiling should be avoided. Indira's programme came to a close with a tillana.
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