Music and dance review
The Arka Foundation is serving the society, especially in rural areas, by adopting village schools in remote areas. To support their activities a Bharanritya recital by Dr Padma Subrahmanyam was organised last week. How Padma Subrahmanyam, a celebrity, has evolved her own style, could be seen from the very first composition itself.
It was also sort of a heart felt request – prayer of a devotee. “Hege Mechisali” of Purandara Dasa in the raga Arabhi. Padma’s mother Meenakshi Subrahmanyam was also a musician and composer of nearly a thousand songs.
Before her last composition was composed completely she passed away, which was completed later by her nephew Kannan, talented Veena player. Thus “Kamakshee Kamakoti Peeta Vasini” saw the light that too in a rare and less known raga ‘Sallapa’.
It was dignified with unhurried grace and her Abhinaya attracted with arresting charm. The ‘Meera Dasi’ was again proof of her creativity.
Then ‘Nagendra Haraye’ was performed neatly by one of her student Neeraja. Two devotionals – ‘Madhura Madhura Meenakshee’ and ‘Bhaja Govindam’ – followed.
There was elegance in her rendition. The classicism, the uncompromising neatness, the dignity of bearing, sparkling, all the signature of Padma Subrahmanyam style, had the chance to fully blossom, throughout the recital.
A team of talented and experienced musicians supported her from the wings – Dr Gayathri Kannan and Radhika Muthukrishnan (vocal) Nagesh Sriram (mridanga), Kannan (veena) and Pathanjali (flute).
Proof of progress
Chitra Arvind of Rhythmotion dance company, gave a Bharatanatya recital last week, at the Seva Sadana auditorium. A student of Nupura, Chitra has received guidance at Nritya Kala Mandira and Samprati, also. She has a post graduate in History and a B A in Choreography too.
Apart from Bharathanatya and Kathak, she has received training in modern dance in London and has performed in several countries including UK, USA, Europe, South East Asia and South Africa. Chitra Aravind is a performer, a teacher and choreographer.
Chitra gave a bright start to the current programme with a compact fare. She opened with a crisp Alaripu in Tisra. The “Neela megha shyama sundarana” in ragamalika, describing the pangs of longing, was neatly performed. She has a good sense of rhythm, which was well exhibited in the Varna. Though the tempo was changed in the middle of the varna, was regained from the ‘Ethugade’!
In the pada “Joodare”, while enacting the ‘samanya nayika’, her progress in the Abhinaya came to the fore. “Idadu Padam Thookki aadum”, a composition of Papanasam Shivan in the raga Kamach, with a variety of motifs, registered well.
The well known ashtapadi ‘Rati Sukha Saare’ (Yaman Kalyani) and a Thillana (Hindola) – were the concluding items. In total, the programme was the proof of Chitra Aravind’s progress, over the years.
She was well supported from the wings by Balasubramanya Sharma (vocal), Suma Krishnamurthy (natuvanga), Gurumurthy (mridanga), Mathura (flute) and Aditya