How artiste couple Indira and Ramprasad lent a distinct touch to Natyarangam’s Parampara series

Indira Kadambi’s perfromance was marked by high energy and clarity of movements during theermanams.
| Photo Credit: SRINATH M

The relationship between the two main facets of Bharatanatyam — sangeetham and natyam — and the possibilities that can emerge from it form the core idea behind the series ‘Parampara’, an initiative by the Nrithyopasana Trust and Natyarangam. The latest edition featured vocalist T. V. Ramprasad and dancer Indira Kadambi. The couple lived up to the idea with an enriching performance. Their rapport and understanding were evident through out the performance. Beginning with alarippu and ending with an English Note, they kept the momentum alive through a carefully curated repertoire, which struck a fine balance between nritta and abhinaya.

Ramprasad’s musical acumen and experience were evident in the sensitivity with which he used ragas, swaras and sahitya. He blended them seamlessly with movement and expression. His apt explanation before each composition, be it highlighting the different swaroopa of Anandhabhairavi raga, through the comparative usage of different swara patterns in the past, or unravelling the beauty and methodology of niraval singing, gave us an insight into the grammar of music.

Indira Kadambi conveyed varied shades of emotions effortlessly during her Anandabhairavi pada varnam.
| Photo Credit:
SRINATH M

Energetic performance

Indira’s dance was marked by high energy and clarity of movements during theermanams, while her ability to convey varied shades of emotions effortlessly sustained interest through out the Anandabhairavi pada varnam by Mellatur Veerabhadraya. It speaks of the anguish of a nayika who is disturbed by the indifference of her nayaka towards her. Indira delineated each sanchari twice to highlight the differential treatment meted out to the two women. Her portrayal was as intense as it was joyful.

The highpoint of the show was the Tyagaraja kriti ‘Eti janmamidi’, where Ramprasad’s soulful exposition of Varali raga and Indira’s bhava captured the poignancy of the song. The momentum did get a bit diluted with an extensive depiction of important sequences from the Ramayana.

Dancers from Indira’s institution Ambalam were featured in select compositions. One of the them was the alarippu (composed by mridangist Nagaraj), which stood out for footwork and coordination between Indira and her six disciples. The two nindasthuthis — Kalamegam in Tamil and Purandaradasa in Kannada — lent a touch of humour with the dancers enacting a debate between Parvati and Lakshmi on the virtues of their husbands.

Students of Indira Kadambi performing the alarippu.
| Photo Credit:
SRINATH M

The performance ended with an English Note, Muthiah Bhagavathar’s Sankarabharanam composition. The choreography combined elements of ballroom dancing with adavus. The ensemble’s exuberance conveyed the rhythmic beauty of this piece. The harmonies for the English Note was arranged by Vishnu Ramprasad, who added a fine touch to all the songs with his navtaar. G.S. Nagaraj’s powerful percussion support, Nitish Ammannaya’s melodious flourishes on the flute and Ramya Suresh’s confident wielding of cymbals enhanced the musical experience.