Urmila Satyanarayana and her students demonstrated at Narada Gan Sabha in Chennai: SR Raghunathan
The third edition of ‘Vaggekarakara Bharm’ presented by Nritiopasana Trust and Natyarangam showed an associate effort between Urmila Satyanarayana and Lalguri Vijayalakshmi. The famous dancer and violin player selected some compositions, including some rare people, adapted to dance, performed by Urmila and her students.
The auspicious sounds of Nagaswararam by Pazyasuram ji Kalidas and Thawal were in the tone and tanner by Adir Ji Silambarson, and Mallari Kuzihitrai Pichaiyapilai and Valangaman Shanmagasundaram were set in Panchgana Ragamaliga. Girls. After the initial hiccups, they presented it with coordination and clarity, but their entry and exit were required to improve it better.
Lalgudi Vijayalakshmi | Photo Credit: SR Raghunathan
This was followed by a prayer, a small farmer composed by Vijayalakshmi in praise of Narathna Ganapati in Raga Natikurinchi.
In the 90s, ‘Ann Manam Nirindavar’, a vanam composed by Lalguri Ji Jayaraman in Kirwani for ‘Jayanti Jaya Devi’, was danced as a group with four characters – Uma, Sakhi, Shiva and Shiva as an old man. It is about Varanam Uma that he is talking to his Sakhi about his love for Thilai Nataraja, when Shiva appears to fail his penance and stops him from getting married.
The strength of a vanam in a traditional route lies in immense possibilities, it provides in expressing and expressing the feelings of a grown heroine. By optimizing it for a group presentation, the effects of the feelings of love became thinner, with attention between each character on the stage. The latter half, which was seen as a dialogue between Uma and Shiva, was similar to a nutritious Natakam (dance drama) in disguise with ‘Shivana Nun Manalan’ – where Swaras and Literature, and Taal and Dramatics composed prudently.
From ‘Vagagayakara Bharam’. Photo Credit: SR Raghunathan
A Purandardasa Devnama in Mohana was painted as a dress drama with two Krishnas about the mischief played by Krishna while working with Gopika while complaining to Krishna’s mother Yashoda – a dress drama – obedient son and a mischievous boy complaining to Gopia, who complained in conversation modes.
The depiction of emotions in the song ‘Raha Chala Sukma’ by Tyacagaraja in Raga Kalyani, where he emphasizes the importance of devotion on worldly pleasures, was notable for the sensitivity with which he expressed his views.
Identifying and choreographing rare compositions favorable for dance is a good step, but it needs to move beyond the level of a regular route presentation. Different aspects of each discipline could be more originally woven, there was a more creative association between the musician and the dancer.
Lalguri Vijayalakshmi’s brief interpretation of music and main features of each composition, helps the audience understand their internal value. For the dance aspect, the meditation group was choreography.
Sai Kripa Prasanna provoked the cymbals, in addition to choreographed the pieces with Urmila. The vocal rendering of Bhave Hari and Prithvi Harish was intimate and sweet. Sridangam was the artist with Guru Bhardwaj and Sujit Naik on the flute.
Published – April 29, 2025 03:15 pm IST
