Vaggeyakara Bharm: A demonstration that facilitates dance-music conversation

The fourth edition of Vaggekarakara Bharm, organized by Natayarangam, featured a cooperation between Carnatic singer Aishwarya Vidha Raghunath and dancer Paraswana Upadhyay. Both discovered some compositions from the list of huge performances of songs to be sung often in concerts.

Between solo and group presentations, the evening began with ‘Sri Maha Ganapati Raoathumum’ – a composition by Muthuswamy Dikshati in Gowla Raga. It was presented by the students of the Punya Dance Company of Paraswanath. This work, which is sung as an invocator number in front of Kamalamba Navvaram, was dancing, coming to Sundaramurthy Nayanar’s prayers and Ganesh to help him. The dance sequences were notable for the clarity of movements and structures.

Shruti Gopal danced on Kapi Varna ‘Chalmela’ composed by Vadivelu (of Tanjor Quartet). After the establishment of the exaggerated position of Brahdeshwar, he discovered various masters while maintaining the STEI Bhava. Equality in the Narita pattern was brought into a bit tired, while reducing the effect.

Carnatic Vocalist Aishwarya Vidha Raghunath | Photo Credit: VV Ramani

Subsequently, Parshwanath Upadhyay, Aditya PV and Shobith Ramesh took Deekshati’s classic composition ‘Shri Vishwanathan Bhajham’ (set in 14 ragas). The spontaneity with whom Aishwarya transitioned from one raga to another, bringing out various nuances, made it pleasant. Well -coordinated movements and accurate footwork, contradicted with interesting narratives, kept the speed alive. During the reaction of the dancers to the Swara route, the performance became sluggish, which were repeated.

Adithya chose the beautiful Kshatraya Padam ‘Ram Ram Pran Sakhi’ for her single performance. Choreographed by Braga Basel, the sequence expressed the pain of separation experienced by Krishna for her beloved through comparison with the emotional turmoil of Rama during Sita’s absence. The infection of the adethyya between Krishna and Rama and the accompanying beans was depicted with sensitivity, although slightly more internalization and identity with ideas would have added depth.

Members of Puneah Dance Company | Photo Credit: Courtesy: Natayarangam

The most influential composition concluded the Periazwar Thirumoji ‘Manikam Katti’, which was performed by RK Sriramakumar in the ragas, such as in ragas such as Neelambari, Hamirkalani, Khamas and Surta. Parshwanath and his disciples breathed their lives in this lullaby-like piece. For this, Preeti Bhardwaj’s choreography was marked by decorated tricks and structures.

Once again, two mediums – there was not much interaction between music and dance – to make the experience really rich.

The orchestra consisted of Gayatri (violin), Praveen Sparsh and Harsha Samaga (Mridangam), Preeti Bhardwaj (Nattuvangam) and Kalyani Vaidyanathan (Tambura). The dance team also included Navya Bhat, Dhanashree Prabhu, Mahalakshmi, Sarvashan, Vibha Raghavendra and Akshada Vishwanath. The light design was by bliss.