HAMSADHWANI
Sringara in all its shades
SARASWATHI VASUDHEVAN
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`Moh' was characterised by pirouettes and traditional Kathak movements.
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Photo: S.R.Raghunathan.
A MEETING OF ELEGANT STYLES: STEM dancers.
Against the cool evening the curtains rose to a warm applause of two distinct dance styles, Kathak with a contemporary touch and classical Bharatanatyam. Imbibing the lineage of guru Maya Rao, Madhu Natraj, svelte every inch, captivated the audience with her oral and visual communication skills. Space, time, energy and movement were captured by the dancers reflecting their allegiance to the STEM Dance Company.
Even with the invocation to Lord Ganesa, a composition of Adi Sankara, the group struck a rapport with the audience, through rhythmic geometric patterns. The sequence in `Moh' ecstasy of love , explored varying shades of Sringara in which perfect harmonious pirouettes and traditional Kathak movements brought about a sense of revelry. The Qawwali style of singing was the medium suitably used to describe the union of the soul and the Divine in this piece.
Madhu managed a quick change of attire and emotion as the Eka pathra nayika in `Duvidha' elaborating upon Yashodhara's empowerment to find her space and peace like the Buddha himself. Particularly noteworthy was the nritta piece in raag Jinjoti choreographed by Maya Rao. Varying talas interlaced the footwork as rhythmic intelligence flowed in concentric circular patterns. Powerful clear movements and steady chakkars covered space and time remarkably.
Tarana in teen taal, a composition of Hazrat Amir Khusru, challenged Madhu's artistic skills in which dance and music enhanced a fine blend of Kathak and Flamenco to melodious rhythm.
True, tradition and modernity should co-exist, but the nritya aspect of Kathak should not be left behind in the process. The male dancers should look into erect form and posture. Sai Venkatesh provided the professional lighting touch. The dancers Ramya Ponnamma, Tushar Somashekhar and Janardhan Raj deserve mention.
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