MRIDANGA

Mridanga, a trust formed by Deepikka Nagaraj and her husband to promote Indian Classical Arts, conducted a three-day dance festival at the Museum Theatre. The last day of the festival saw Deepikka, a disciple of Padmashree Leela Samson, perform a Bharatanatyam recital with Neewin and Pravin, (dancers trained at Kalakshetra), to a fairly well-attended audience.

The programme commenced with 'Prana', set to Ragam Revathy. Shlokas taken from the Taittiriya Upanishad describe life force or 'Prana'. This pulsating energy is drawn by the Creator, who sprinkles it around, to bring forth life in its many forms. Life in the manifest world is enjoyed and celebrated. When this 'Prana' has fulfilled its role, it goes back to the Creator himself.

Deepikka was attired in a simple, yet striking off-white costume, stitched in the trademark costume design that her Guru is known to patronize. Neewin and Pravin fulfilled their role of supporting artistes with grace and dignity. The neat symmetrical bodylines and perfect, coordinated footwork of the three dancers brought forth the exacting standards that the school of Kalakshetra is known for. The sequence where living creatures like the peacock, deer, elephant and the birds were depicted was an imaginative piece of choreography. The musical accompaniment was melodious and apt.

The second item was performed by the main dancer of the evening, Deepikka. She chose to present the traditional Varnam 'Challame' in Ragam Natakurinji, composed by Rukmini Devi. This Varnam has the devotee questioning the Lords indifference towards him and then goes on to describe the beauty of Sri Rangayya's reclining form. Depikka's expressive face brought forth the various nuances well, but her expressions were a little too subtle and underplayed. Too much subtlety of emotions fails to hold the viewer's interest for long. The short and crisp Teermanams (Sequence of steps set in a particular pattern) were well done. An additional vocal support to the vocalist Uma Nagaraj could have helped, as there were occasions where one felt she had to strain her vocal chords to pull herself together in the singing of the Varnam.

The third piece, a padam 'Netru varen enru' was delightful. Deepikka made full use of her forte - Abhinaya. In this padam, the Nayika says that her lover, who promised to come yesterday, has not yet turned up. She repents her casualness of ignoring his advances when there were opportune moments. This padam was set to Ragam Pantuvaraali and Mishra Chappu Talam. Subtlety and grace marked this item. The sequence where the Nayika is at the beach building sandcastles and playing with the water was very vividly portrayed. The coyness the Nayika feels when her beloved surprises her with a gentle hug, was beautifully conveyed.

The final piece was a unique Tillana set in Ragam Poorvi, set to Roopaka Talam choreographed by Deepikka and performed by Depikka, Neewin and Pravin. The innovative improvisation of the traditional Tillana steps with body extensions and various rhythmic patterns were noteworthy. The dance movements flowed gracefully with the musical notes.

The orchestra consisting of Srikala Suresh on the Nattuvangum, Uma Nagaraj - vocal, Ramani on the Veena and Kamalakannan on the Mridangam, was very well coordinated and strong. Special mention must be made to the Mridangist of the evening who played with enthusiasm and energy.

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