The Margam as envisaged by the Tanjore Quartet is a repertoire conceptualised to unfold the intricacies and great thing about Bharatanatyam in a scientific method. From easy rhythmic actions in Alarippu to introduction of abhinaya in Sabdam, and from exploring each facets intimately in Varnam to expressive items equivalent to Padam and Javali, the standard line up concludes with a vibrant Thillana.
With adjustments within the efficiency area and shorter period of recitals some items within the repertoire had been edited out. To spotlight the fantastic thing about the hoary Margam, Natyarangam, the dance wing of Narada Gana Sabha, organised a programme titled ‘Poorna Margam’. The complete-length efficiency not solely helps dancers showcase the lyrical and emotional content material of compositions but in addition offers them scope to revive uncommon and forgotten works.
Senior dancer Roja Kannan offered all the repertoire — Alarippu to Thillana. Together with the orchestra, she shared the enjoyment of revisiting classics. A Tisra Dhruva tala Alarippu, choreographed by her guru Adyar Ok Lakshman, with which Roja started her efficiency was adopted by a Jathiswaram, composed by guru Kanchipuram Ellapa Pillai. The pranks performed by Krishna had been portrayed within the Ragamalika Sabdam, ‘Sarasijakshulu’. The Sabdam set the temper for the viewer to benefit from the elaborate exploration of concepts within the Varnam.
The grandeur of raga Thodi unfolded within the Varnam, ‘Moha lahiri konden’, a composition of Tanjore Quartet, in reward of Mannargudi Rajagopalaswamy. The lengthy expertise of acting on stage was evident in Roja’s presentation. Within the first Jathi, the slight elevation of the heel and the expressions of the dancer trying upwards, with arms stretched out to visualise the magnificence of Rajagopalaswamy’s kind, was an attention-grabbing contact to introduce the nayaka of the piece. The shringara rasa, as skilled by the nayika, was depicted by way of a few sancharis. The sthayibhava of the nayika was established convincingly when her gaze shifts to the idol, and she or he begins to speak about her tormented, lovelorn state.
The great thing about the rains, the boatmen dismissing little Krishna’s assist, their worry getting drowned within the flooding waters, and eventually, surrendering to him was a story that was dramatically portrayed.
The sollukattus rendered with readability and conviction by Parur M. S. Anantashree, the arudis and rhythmic thrives on the mridangam by Nellai D Kannan, and the way in which Roja responded to them along with her footwork made the theemanams impactful.
The dancer selected two widespread numbers, a Kshetrayya Padam, ‘Choodare’ in raga Sahana and a Swati Tirunal Javali ‘Saramainamata’ in raga Behag for the pure abhinaya section. The Padam on how a gaggle of ladies although busy with family chores take day out to gossip about one another was dealt with effectively by Roja.
‘Don’t you’ve got any compassion for me. I’m fully drowned within the ocean of Viraha (pangs of separation). ‘Take a look at me’, entreats the nayika within the Javali. The 2 songs had been danced fantastically, however one felt that by speeding by way of the viruttam and ‘Varugalamo’ that adopted, the chances of delving deep into philosophical facets of the compositions weren’t explored. The efficiency concluded with a Veena Seshayya Thillana in raga Chenchurutti. It had jathis composed by Adyar Ok Gopinath.
Radha Badri’s expressive singing enhanced the attraction of the efficiency. Devaraj on the flute and Anjani Srinivasan on the veena added color to the musical association. That the Margam is a positive amalgam of dance and music was evident on this presentation.