A report written by Lakshmi Basavaraju and P.Sivakumar

Rama Vaidyanathan presents an evening of Pure and Perfect Bharatanatyam

It was a spotless, sparkling, diligent, purest and perfect renderation of classical Bharatanatyam by reknowned exponent Rama Vaidyanathan. The ease with which this seasoned artist sculpted a traditionally woven evening of dance goes onto to describe the blending of all ingredients of sheer hard work and love for the art.Rama performing at the festival commenced her performance with a Ata taalam Alaripu, based on 14 beats. As she commenced her immaculate recital, she conquered the rasika, who heartily accepted the brilliance and heaped in with rewards of thundering applauses.Her flow of dance, with symmetrical gestures of hand was a highlight. Sublime flow, use of stage space, complementing the jatis with beautiful nritta. Rama performed this opening piece with superb degree of diligence.

Rama proceeded to perform the Varnam “Mohamagenen ind valeill” based on the composition of Sri.Dandaudapani Pillai set to Karaharapriya raga, Adi taalam. Varna presented the craftiness of the dancer, who represented the nayika, who is deeply in love with lord Shiva. This varna was a journey of the nayika’s feelings for the lord, a transition from how she has been feeling the love, the striking of the cupid’s arrow’s, her longing for him, the effects of the various seasons. As Shiva blessed the sages who meditated for him with his Ananda Tandava, the nayika contemplate to meditate and win over the lord. The Varnam in varied phases of the nayika’s from confidence into one, who is still unsure about the nayaka’s love, gave a good account of the dancer’s capabilities, Rama’s portrayal stood out as the lovelorn nayika in full bloom, as was her depiction on the end of the varna as an uncertain nayika. In description of this varna Rama staged the Ananda Tandava of lord Shiva in full passion.

The evening was concluded with a telegu Bhajan “Momunchepura” set to Behaga raga and Roopaka taalam. This Bhajan about Yashoda and Krishna consisted of the 3 stages when Yashoda confronted little Krishna and how she was mesmerized with his response.

She simply called him “the butter thief” on one occasion, while on the complains of the gopikas, who complained that he has stolen their butter and she confronts him, she is awestruck with his innocence in his eyes which told he hasn’t done that, and the final one where the children have complained that Krishna has eaten mud, she is humbled to see the whole “Bramhanda” in his mouth, thereby realizing that he is the omnipotent lord. Rama danced through this Bhajan creating the varied characters. Some interesting snippets were the swift transformation of the artist from Krishna who has stolen the butter into Yashoda who is coming complaining at him. The episodes of love and play between the mother and child were very well depicted by Rama. Also the final moment of realization by Yashoda about lord Krishna was well presented.

Rama’s coordination with the orchestra through the evening too was good.

Rama Vaidyanathan was well supported by Sri.K.Shivakumar - Nattuvangam, Sri. Valsarajan Niliyath – Vocal, Sri. G.S.Rajan – Flute, Sri.Sumod Sreedharan – Mridangam

Date of Performance Friday 2nd January 2009. Venue : A.D.A. Rangamandira, J.C.Road, Bangalore. Name of the festival Rasa Sanje’09 Parineeta. Festival organized by Venkatesha Natya Mandir, Bangalore

A report jointly written by Dr.Lakshmi Basavaraju and P.Sivakumar.