Kanisetty Vaishnavi is the disciple of veteran Hemamalini Arni of Vazvoor style of Bharatanatyam that gave greater role for abhinya and exercising jatis. No wonder this agile and good looking girl filled her presentation of different numbers, set in Margam format, and full of abhinaya while displaying command on Nritta and Natya. Her performance was held at Telugu University auditorium, last week under the aegis of Surmandal.
Vaishnavi opened her show with an invocation to Ganesha in the form of Sadasivan maindane of Maharajapuram Santhanam in Hamsadhwani. This number also warmed her up for an easy go in the following numbers. A prolonged jati also marked this number. This was followed by an Allarippu in Tisram, a traditional nritta item in which the dancer seeks the blessings of the gods, guru and audience, a number serving as curtain raiser to the main number, Varnam Swaminaathanai Azhaithuva Sakhiye
The choreography of the varnam combined all three elements Natya, Nritta and Abhinaya, showcasing her mastery. This is a composition in praise of Lord Muruga, by his consort, temporarily separated from him but asking her friend to fetch her Lord to her. This theme was underlined by Nayaki Bhava of Virahotkhantita . The varnam was packed with jatis right from the start, which were complex but rich. Vaishnavi presented the number with effortless ease despite the need of portraying her uncomfortable mood of the Nayika. She was quite moving in her expression of how she was missing him.
Brochevarevarura Ninu vina Raghuvara of Mysore Vasudevachar in Khamas was the next number Vaishnavi presented displaying the same depth in her abhinaya that showed in varnam. In fact she resorted to dramatise some of the sequences especially Sita Swayamvaram sequence taking a sahitya line that starts with the word ‘Sitapate’. She dramatised the sequences of Swayamvaram like princes and kings including Ravana wooing her but failing to lift the Siva Dhanassu, a test to win the hand of Sita. The contrast between Ravana’s effort and Rama’s lifting the bow was presented with striking abhinaya with ease. It was a welcome presentation. The dances for Chittaswaras were well gone through. The abhinaya part was presented to pure music receiving applause. There was also a a well dramatized sequence showing how Vishnu goes to the rescue of his Bhakta, the Elepahant King Gajendra from the jaws of a crocodile.
The same tenor was followed in the presentation of Meera Bhajan Pag Ghungroore the next number, Meera displaying her love for Krishna with abhinaya to lines like ‘Govardhana Giridhari’ and so on. She concluded her show with a tillana in Surati.
Sangeetha Kala gave animated vocal support to Karra Srinivas’ nattuvanagam. Sridharachari on mridangam and Saikumar on violin lent instrumental support.
