With talent and poise
EVEN THOUGH it is a well-known fact that talent cannot stand alone in a performing art without the all-important framework of poise, it is only the former that our gurus concentrate on; the latter, for the most part has to come from within.
One such promising dancer with a good blend of skill and personality is Sulakshana Jayaram, a disciple of Pandanallur Srinivasa Pillai, who danced recently for Sri Parthasarathy Swami Sabha. This young lawyer with a passion for Bharatanatyam shone with self-confidence right from her opening Siva Stuthi.
An arresting stage presence augmented her well-rehearsed repertoire. Guru Srinivasa Pillai's choreographies were another point of interest, where traditional adavus have been organised anew to accommodate the `contemporary' need for pace and fireworks.
The `bhakthi' laden varnam, `Karunai Vadivamaana Kailai Vasare' on Shiva, in Revathi, Adi talam, consisted of crisp jathis and concise sancharis. The Amirkalyani tillana in Adi talam was another lively composition of the guru's that suited the dancer's vivacity.
`Mathura Nagarilo,' a padam by Chittoor Subramanya Pillai in Anandabhairavi, recast the dancer as a gopi pleading with Krishna who waylays her. But Sulakshana was most evocative in the concluding `Gitopadesa ', where verses culled from the Sanskrit original were tuned by her guru in ragamalika.
Arjuna's initial confusion on the battlefield and his subsequent understanding of the situation were projected with sensitivity and depth.
There are a few simple changes Sulakshana can make to her style to enhance its effectiveness; the sharp arm movements may be toned down, and the `azutham' of the footwork improved. Pandanallur Pandian's excellent conduct of the performance was supported by the melodious vocalist Gomathi Nayakan.
Mayavaram J.Shankar on the mridangam and Sitharama Sharma on the violin made up the cohesive group.
RUPA SRIKANTH
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