Meenakshi Chitharanjan’s live performance was an ode to the Pandanallur bani

Meenakshi Chitaranjan dance performance at Bhavans Rajaji Vidyashram, Kilpauk on December 28, 2022.

Meenakshi Chitaranjan dance efficiency at Bhavans Rajaji Vidyashram, Kilpauk on December 28, 2022.
| Picture Credit score: Okay.V. Srinivasan

Pandanallur Parampara- Timeless Gems offered by Meenakshi Chitharanjan and her college students was a delicate and well-thought-out repertoire that showcased the genius of the Thanjavur Quartet. The proficient set of artistes who accompanied them made the recital slightly memorable.

There was nothing dramatic or populist on this efficiency held at Bharatiya Vidya Bhavan, Kilpauk, it was simply devoted adherence to the bani. This was extra evident within the Vasantha jathiswaram by the Quartet. There have been hardly any exaggerated actions or overtly stylised bhava. As an alternative, this nritta-based piece was performed at a leisurely tempo.

The Guru Stuthi, ‘Maya theetha Swaroopini’, in Mayamalavagowla, Rupakam, one of many gems of the Quartet, set the tone for the night.

Meenakshi selected to convey a couple of synergy between herself (as a dancer-choreographer) and her college students, and so they seamlessly wove collectively the items.

The Varnam in Chakravakam ‘Enneramum’ (Adi) was the central piece, which was marked by some pleasant imagery. The quintessential nayika and her eager for the divine union had been part of Meenakshi’s ideas about its relevance in today – “so long as we’re human, love and its associated feelings can by no means exit of vogue or grow to be irrelevant’’.

The varnam was an providing to the Lord. The nritta passages had exact jathis, executed with straightforward, neat strains.

‘En mel avaruku’ in Bhairavi (Mishra Chapu) by Kavi Kunjara Bharathi was stuffed with fleeting expressions that additionally supplied a pleasant interlude after the varnam. The thillana, a composition by Lalgudi Jayaraman in Mohana Kalyani adopted by the Mangalam in Madhyamavati (Thanjavur Quartet) introduced the recital to a conclusion.

On the nattuvangam was Pandanallur Pandian, vocal was by Gomathinayakam, mridangam by T. Vishwanathan and violin by R. Kalairasan. The opposite dancers had been Aparna, Krithika, Nivedita and Sahana.

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