It was accuracy and arithmetic working their way within the linear nebulae of Bharatanatyam. Danseuse Purvadhanashree, who had revisited this genre after a hiatus, made sure that there was no seepage of one idiom into another considering her tryst with Vilasini Natyam, a more fluid form. Her posture-perfect stance and energetic footwork evoked a well-deserved applause from one and all at New Delhi’s India International Centre.
It was not before the artiste stepped into the Swarajati (Thanjavur quartet) that we could sense her warming up to her performance; she was immersed in her art and it permeated to the audience as well. For we could see ourselves getting involved in her expressions and experience the situation as she presented it with her artistic gestures. For instance, in the Anandabhairavi swarajati, she portrayed the devoted nayika, totally in awe of her beloved lord, whom she described as a valiant Krishna and for whom she was waiting even as she related her mental state and her beloved’s glories to her confidante (sakhi). Her sanchari bhava to the muktayi sahityam lines “arumaiyaagha sallapa .... nalla ullasa villasa kalavum..” was very impressive. So was her expressive love and admiration as she emulated the lines, “edo oru vaghaiyai….”
Decorating the sanctum, picturing Lord Rajagopal of Mannargudi in myriad gestures, the jatis she undertook prior to the swaram were some of the highlights of this lengthy swarajati. Earlier to this were the customary alarippu followed by “Anandamrutakarshini”, a Dikshitar kriti in raga Amritavarshini, both of which were handled with professional touch and perfection sans the emotive element.
A sensitive viewer could gauge that the dancer was both self-conscious and way too concentrated on what she was doing which showed both in her movements and countenance. This guard was lowered as Purvadhanashree sailed through the swarajati and the others, a padam in YadukulaKambhoji where as Vasavasajjika she eagerly awaited her beloved nayaka. Sensitive details like shielding the oil lamp from extinguishing due to the breeze, the final part of the abhinaya, being enacted to a totally silent stage (sans accompaniment) were creative pieces of artistry. In the Meera bhajan, the artiste took us through the Kalindhi mardhan and Draupadi rescue, the Vishwaroop darshan, Gita bodhan before rounding off with a wonderful philosophical statement which found a visual resonance in her abhinaya. The tillana was another virtuous nritta finale, a traditional closure to the margam repertoire. R Venkateswaran on the vocals, Dr. Vasudevan on nattuvangam and Thanjavur Kesavan on mridangam gelled as awesome threesome. Ravindra Prasad on violin and Prasanna on flute were at their melodic best. However, the stark stage light above the artiste’s head was blinding for the audiences in the front rows.
