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Quo Vadis?

Lakshmi Ramaswamy, senior disciple of dancer Chitra Visweswaran, has been presenting an interesting thematic dance programme titled ‘Thedal’ (The Search Within), both in and out of Chennai, in recent times.

‘Thedal’ implies the search for the Ultimate with the purposeful and harmonious association of the five senses to gain the sublime objective.

Beginning with the Viruththam -‘Kuniththa Puruvamum’ - composed by researcher-lyricist, Dr S Raghuraman, Lakshmi rendered the traditional Margam opener Alarippu, set to Kanda Nadai - the five-beat cycle – ta:ki:ta:ta:ka - viloma kandam, quite impressively, with pep and challenge.

Music, Movies and Mamta Are you ready: Image makeover Red One for Achchamundu! Achchamundu! A day-trip to Dakshin Chitra குசேலன் நஷ்ட ஈடு: தணிந்த சூடு வில்லன் வேடத்தில் சீயான் கலங்க வைத்த இசையமைப்பாளர்

Judicious sringara, the queen of the nine sentiments (rasas), smoothens our search for the meaning and end of life. Almost every mood leads to sringara. In dance theory, this is the base line for the cocept of ‘ashta nayikas’ (eight classical heroines) in delineating ‘Nayika Bhedas’ (the classification of these heroines in consonance with their varying moods).

These heroines were depicted, beautifully, by Lakshmi with finesse and well-trained expertise.
The maiden ‘dolled up’ awaiting impatiently and eagerly for her beloved – 'Vasagasajjika';
The lovelorn ‘Virahothkantitha - suffering excruciatingly the pangs of unbearable separation;
'Kalahantharitha’- the quarrelsome maiden unable to come to terms with the questionable behaviour patterns of her Lord;
'Svaadeenapathika' - who keeps her Lord firmly in her grasp;
'Khanditha' - a dominating and inquiring, possessive heroine;
‘Vipralabdha’ - though outsmarted, yet pines for her Lord;
‘Proshithabhartrka’ - dejected maiden unable to wait any longer for her Lord; and
‘Abhisaarika’ - dare-all woman set to gain access to her Lord - no secrecy, no beating about the bush - the ‘end’ justifies the ‘means'.

Lakshmi portrayed all these differing aspects of the eight lovelorn women very graphically, capturing the relevant mood through appropriate mime and gesture, raising the presentation of this ragamalika - aadsi piece (composer Sitarama Sharma) to high levels. Maybe, occasionally, and needlessly, she looked more serious than necessary, or was it the stage lights that tricked my perception?

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When one gets maturity, passion gets diverted to nobler search and, of course, pronouncedly less mundane in import. Search for the divine takes over. Ambujam Krishna’s composition ‘Aravinda Paada Malar Nohumo’ (Kaapi - Adi: ‘Will your lotus feet get hurt if you come to me?’) was choreographed and presented delectably, changing the mood for introspection adroitly. The devotee-searcher questions the Lord’s impartiality! ‘Why do you tarry only when it is poor me?’ is her perplexity.

Lakshmi ended her thematic recital with the well-known Dikshitar-Amrithavarshini composition, wherein the blessed balance of Nature vis-a-vis earth's need to protect her children provided a fitting finale.

Lakshmi, director, Sri Mudraalaya, has won several titles and prizes, including the prestigious Fulbright Fellowship in Arts & Culture Management Studies. She is an ‘A’ grade artiste of the Doordarshan and is an empanelled artiste of ICCR and South Zone Cultural Centre. Her other significant recent presentation is ‘Silambu Vidu Thoodhu’ – The message of the anklets.

Vanathi Raghuraman (vocal), Srikanth (nattuvangam), Sudhaman (mridangam). Muruganandam (violin) were the accompanists.

R. Srinivasan
Ph: 24355576
r_seema30@hotmail.com

Published on 15^th June 2004

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