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Mix of dance, music and drama
RUPA SRIKANTH
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Padma gave each padam of Annamacharya a visual dimension.
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Photo: R.Shivaji RAo
Neat portrayal: Padma Subrahmanyam.
It is a fact that Dr. Padma Subrahmanyam is a complete entertainer. It is also a fact that though she is an accomplished dancer, musician, scholar and dramatist, these qualifications are only incidental to the larger picture. She takes culture to the
common man by breaking down its stylistic and sophisticated barriers and bringing it to its lowest common denominator, within the framework of aesthetic art. Her presentations address the basic concerns of good music and good drama. No less, no more.
‘Annamayya Pratibha’ was no different. Padma strung a garland from the aromatic ‘flower offerings’ of the pre-Trinity saint composer, Annamacharya, and gave each of the devotional padas a visual dimension. For a part of the recital, it was biographical and for the rest, it was devotional and spiritual.
Vivid sketch
Her sketch of Annamacharya’s dream, his pilgrimage to Tirumala and his encounter with Goddess Alamelu Manga in ‘Ippuditu Kalaganti’ (Bowli) and in ‘Ammaku Talapakkam’ was warm and vivid, sometimes light hearted and sometimes poignant, but always made an impact.
There is also a hint of tongue-in-cheek irreverence in her characterisations that she is able to pull off simply because she is willing to laugh at herself as well. The bhajan group (abhang) on their way to the Seven Hills was one such vignette. The pilgrims being overawed by the imposing mountains and the ritual breaking of the coconut before the climb were not spared either.
Annamacharya is unable to keep up with the group and falls behind. Exhausted, he breaks down. A woman comes to him and offers him a laddu. Eating it, he feels refreshed and looks around to thank her but she is gone. He realises that the woman was none other than Alamelu Mangai Thayar. With the chanting of the Sri Venkatesa Prapatti in the background, the sensitive role play created a very powerful moment.
One can see that Padma choreographs the music as she does for dance. Not only are there other texts like the Venkatesa Suprabhatham interwoven into the score, but the treatment of the sankeertans themselves is unusual. She not only chooses ragas to suit the portrayals but incorporates a strong rhythmic component within the melody. Well-orchestrated pauses in the music are also used to good effect.
Padma had the able support of Gayathri Kannan (vocal) who masterminded the effort in the wings along with B. Kannan (veena), Vijayalakshmi Krishnamurthy (vocal), Nagai Sriram (mridangam), N. Sundar (morsing, tabla), Devaraj (flute), Thanjavur Subba Rao (violin) and Shyamakrishnan (dholak). Her resource persons were scholars Pappu Venugopala Rao and V.A.K.Ranga Rao.
To continue with the story, Annamcharya reaches Tirumala and sees the Lord being taken out in a procession in ‘Veedhula veedhula’ (Gambhira Nattai). It was a glorious sight to behold; for twenty-five minutes, Padma brought the grand spectacle alive — isn’t this what art is all about?
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
