Malavika Sarukkai - Music Academy 4/1/07

[vijay]

This is prompted by Shankar's specific request - I have absolutely no knowledge of dance and have been to less than 15-20 performances till date so this not much more than a collection of my impressions:

The first major item was a Varnam by Ponniah Pillai in 4-5 ragas (Rupakam) including Thodi, Sankarabharanam, Vasantha and a couple of others that I do not recall. The dancing to sollus (apologies for not being aware of the technical term) was a real treat for someone like me who was there primarily for the rhythm. Some of the complex postures seemed to be slightly tentative but I am not really aware of the standards here so I should probably not make any further comments.

The next presentation was in Hamsanandhi and Adi Talam, an excerpt from her production on Khajuraho. This was clearly an Abhinaya oriented piece. The artist presented an "executive summary" of the items to the accompaniment of a voice over in English. I am not sure if this is standarda practice but it was a great introduction for a novice like me! I almost clapped at the end of it but held back realizing that I would probably just be giving away my ignorance!

"Uttara's Lament" was another of the dancer's compositions - a short piece on the grief of Abhimanyu's wife, Uttara, grieving over her husband's dead body at Kurukshetra. I could hear many mamis going tch tch...truth be told, I was quite moved myself.

The tillana was unfortunately a short affair - a Balamurali composition in Brindavana Saranga. There were some exciting but short shuddha nrithya sections which, as far as I could make out, were bang on target.

It was a really great experience for someone who'se been slightly skeptical about dance. The familiarity with the music and the rhtythm makes for easy appreciation even for someone new to the mudra/abhinaya aspects. If anyone else was there, perhaps my novice's obserations could be further strengthened.

I will report on Priyadarshini Govind's performance tomorrow.

And if I could ask for a favour in return for my "services", could someone briefly touch upon the difference in approach/styles of Bharathanatyam, Odissi and Kathak?

[srinidhi]

<<The dancing to sollus (apologies for not being aware of the technical term) <<

Jatiswaram???

[rshankar]

And if I could ask for a favour in return for my "services", could someone briefly touch upon the difference in approach/styles of Bharathanatyam, Odissi and Kathak?

I will try to do so later from my limited experience of the other dance forms.
But, first, I wanted to THANK Vijay for acceding to my request and posting his experience - and that is exactly what it was - rasAnubhava!

The introductions you describe are standard these days. I think they evolved over the presentation of the dance form to mainly foriegn audiences (the festivals of India, specifically), and as the dancers have become more fluent and expressive in English, these explanations have gotten to be rather elaborate.

Srinidhi, I think Vijay was refering to the naTTuvAngam sequences in the pUrvAnga of the varNam itself, and not a separate item like the jatiswaram.

When I attend a bharatanATyam recital I look at it from a technical point of view and then the artistic point of view. Umesh, Apsara, rasikapriya and Marybm can correct/add to this:
Technically, I think I understand what Vijay said that she was bang-on - i.e. the footwork was to the tALam, and not bEtAl! The proof of the basic stance of b'nATyam, the araimanDI - demi-plie(?) being attained can be determined by the big fan (periya viSiri) of the outfit fanning out fully. During the pure dance sequences, the heels have to be close together (not touching) in araimanDi. If they are too far apart, the movements lose their artistry and resemble the movemennts of grape stompers of yore (or, in rural India - SANi medikkaradu!). The arm movements have to be clean and complete. There has to be an inherent symmetry to the movement of the limbs as well as stage coverage. The hasta mudras have to be firm, and absolutely no limp wrists excecpt for the DOlA....

Artistic merit actually is the sum total of the whole experience for me - a recital has to be good technically, but that alone is not enough. For the entire experience to be a driSya kAvya, poetry come alive, the dance and music must merge - one enhancing and embellishing the other to give the full experience. And when the dancer and musician disappear into the dance and music respectively, it makes for a spiritually uplifting performance, and the whole mArgam a trip to the temple as the legendary Balasaraswati once explained.

[vijay]

Thanks for the technical insights Shankar! Will keep these in mind the next time I attend a performance. I also look forward to your explanation of the differences in major Indian dance forms. Meanwhile, here is the update on Priya Govind's dance:

The items were:

Opening item in Amritavarishini on Lord Ganesh
Ragamalika Varnam in Adi Taalam - Thodi, Sankarabharanam, Mohanam, Devagandhari and Saranga were the ragas.
A production based on Purananooru depicting the anguish of a mother whose young son attains martyrdom on the battlefield (BHavapriya)
Tiilana in Behag - Adi taalam - composed by BMK

If yesterday's dance was full of lyrical grace, today's seemed to a raw assertion of power - MS versus MLV would be an apt musical parallel! Priya has a very strong physical presence on the stage - covers almost half the stage in a single leap! Some of her "freezes" were stunning - especially at the end of the first item when she just sank into a Ganesha pose in an instant.

Varnam was more elaborately explored by Priya Govind but the natuvangam (thanks for the jargon Shankar!) in Malavika's performance had some nadai variations, esepcially Tisram which were absent in Priya's recital.

The item from the Purananooru formed the essence of her Abhinaya presentation. I am inclined to think that critics would come down on the overdose of "sentiment" - they certainly would if this were a movie! However, a novice like me did find it very moving and the audience seemed to think likewise and gave a it a huge round of applause. The use of BHavapriya was a very effective one - the raga has a mood that goes beyond the pathos of closely allied Shubha Pantuvarali (Nishada is different), adding a dose of other-wordly eerieness...was very apt given the situation...

Preeti Mahesh provided very good support on the vocals although I squirmed a little at the excessive emotion in BHavapriya. I wonder if she gives any solo recitals - certainly seems to have the potential for a rewarding vocal career.

[arunk]

arent the "naTTuvAngam sequences" simply called "jathis"? (naTTuvangam referring to the art of wielding cymbals).

Arun

[rshankar]

Arun,
The naTTuvanAr recites the jatIs...sequences of SollUs...

Vijay,
Thanks for another very well written review.
The puranAnUru piece was debuted in the US when PG was part of the lavish anniversary celebrations of Hema Rajagopalan's nATya school of dance in Chicago. There were people in the audience who shed tears and others who said that it was excessive (the reviews by Anita Ratnam and others reminded me of similar situations when we used to see movies starring the likes of Sivaji Ganesan or Kannamba: I would get a headache with all of the lachrymose emoting, while my mother would be so appreciative of their efforts through her puffy eyes and stuffy nose! )
Your music appreciation already brought out the variations in the jatIs between Malavika and Priyadarshini's performances - something that many would have missed in the overall impression. So, do not sell yourself short as a reviewer or appreciator of dance. For me, it always about the music that is elevated by the dancing - that is why I loved watching Dr. Padma Subramaniam back in the days when her late sister-in-law Shyamala Balakrishnan used to sing for her - she was a very melodious singer with no unwanted edges or frills...
Ravi

[vijay]

Here is the Hindu's verdict on the 2 recitals above - as expected, the Purananuru piece has been criticized!


http://www.hindu.com/fr/2007/01/12/stor ... 010300.htm

http://www.hindu.com/fr/2007/01/12/stor ... 210400.htm

[rshankar]

Vijay,
Your views were supported by this review...further proof that you can do these reviews atleast as well as the so called professional crtics! I think you do better justice to the music!

BTW, Anjana Rajan is someone who is unsparing in her reviews: See the comment she makes at the end of her review of Chitra Viswesaran's lec-dem before starting the one on Lakshmi Vishwanathan's....

http://www.hindu.com/fr/2007/01/12/stor ... 070700.htm

[arunk]

BTW, Anjana Rajan is someone who is unsparing in her reviews: See the comment she makes at the end of her review of Chitra Viswesaran's lec-dem before starting the one on Lakshmi Vishwanathan's....

http://www.hindu.com/fr/2007/01/12/stor ... 070700.htm

You mean At the end of the day, one could not help wondering why in Indian dance, moving from aesthetics to spirituality usually means leaving behind a good, fit physique.

Isnt that a bit hilarious. Perhaps she should really understand what spirituality is all about ? (i know what she is hinting up, but talking about putting your foot in your mouth!)

Arun

[mahakavi]

It is an uncharitable remark (unlike Subbudu's caustic comments). Yes, having a good physique is desirable (certainly a must in young dancers). However, one has to look at abhinayam and the technique rather than the whole body. These dancers, out of their prime (in age), are human beings and subject to the ravages of time. "marattil maRaindadu mAmada yAnai" is the watchword rather than "marattai maRaittadu mAmada yAnai". Forbearance is needed to ignore the chaff and take the grain.

[Umesh]

However, one has to look at abhinayam and the technique rather than the whole body.

I'd have to disagree there. The entire body is involved in abhinaya... so how can one ignore it?

In an ideal world, yes, we would be able to see past the physique of the dancer and just focus on her mime, but dance is an aesthetic art and human nature makes it difficult to go past the external (when the external, is well, kind of overbearing). Indeed, it was a moving performance (actually the first time ever I have seen Chitrakka perform live and I was so happy), and perhaps the reviewer's comment was not in good taste, but one cannot help but think how much more effective it would be if there was something more pleasant to look at!

And in this respect, I am still amazed by Smt. Vyjayantimala's performance at the academy. Dancing the Kamakshi swarajati with such clarity AND with a fit body... I think it put most of us dancers in the audience to shame.

[jayaram]

So in summary:
A dancer has to maintain their SarIram
just as
A singer has to maintain their SArIram

[rshankar]

And in this respect, I am still amazed by Smt. Vyjayantimala's performance at the academy. Dancing the Kamakshi swarajati with such clarity AND with a fit body... I think it put most of us dancers in the audience to shame.

Thanks Umesh - I was hoping you'd make the case for me!