Aruna M Prakash brings verve, rhythmic precision and expressive sensitivity to a traditional Kuchipudi margam.
A solo performance by any dancer in front of her gurus and specially invited dignitaries is a privilege as well as challenging. When the young dancer Aruna M Prakash presented a two-hour Kuchipudi recital recently in Thrissur, she appeared to be full of verve and confidence.
Seated in the front row among the audience were Dr Chinta Ravi Balakrishna from the village of Kuchipudi and a doyen of the dance form, Kalamandalam Leelamani, Kalamandalam Ambili Vidhyadharan and Dr Aswini Nambiar, her gurus. While Leelamani and Ambili were those who moulded her talents during her younger days, she is presently under the tutelage of Aswini Nambiar.
As for the performance, it was strictly in the margam style. Moreover, all the numbers were the traditional ones which Aruna performed with elan.
The opening number, Shri Sakala Ganadhipa, the much sought-after composition of M Balamuralikrishna in Arabhi and Adi, appeared quite auspicious. Depiction of Ganapathy was noteworthy.
Balancing rhythm and grace
She continued with a Sabdam, the popular one, Prahlada Pattabhisheka. Needless to mention that Sabdam is a narrative item that combines nritta, nruthya and natya. The characters involved in the story gave enough room for Aruna to portray them most effectively. How the young Prahlada withstood the tortures for his unwavering devotion to Vishnu could be well delineated by her. The composition was in Kamboji and misrachapu.
Tarangam was excerpted from Narayana Theertha’s Sree Krishnaleela Tharangini, the famous Sanskrit composition. Mangalaalaya Mamava Deva in Ragamalika and Adi is a prayer to Krishna praising him as the son of Devaki and Vasudeva, the protector of Gokula. The long piece was delectable as a whole, while the dance on the plate was not overdone. But her balance on the plate while keeping rhythm was especially commendable.
As the dancer entered the stage holding her plated hair and in steps with the strains of Bhamane, Sathyabhamane, one could see the very embodiment of the proud and arrogant Sathyabhama who claims to be the most loved consort of Krishna. Excerpted from the traditional dance-drama Bhamakalapam, Bhama pravesha Daru in Bhairavi and misra chap is sure to linger in the minds of all those who had watched it for the eloquent depiction of the character by Aruna.
The anguish of separation
Aruna’s portrayal of virahotkantita nayika in the 5th Ashtapadi was really awesome. She hears from the Sakhi how Krishna is enjoying with a Gopika. She enters into a bower with Sakhi and tearfully tells her she cannot think about anything but Krishna.
Terpsichorean talents of Aruna were in full bloom in the Lalgudi tillana in Kamas and Adi. She concluded with the mangalam, Ramachandraaya Janaka.
Most appealing was Aruna’s footwork, crisp at the same time supple, which also highlighted her keen sense of rhythm. One expected her vertical jump could have been a little higher. Utilisation of space was another remarkable point of her performance. Also, she took special care not to overdo any of the feats. The complex jatis uttered by Aswini were stamped out softly by the dancer with uncanny ease.
Aruna was fortunate to have excellent support from the accompaniment artistes. Vocal by Sangeetha N Rao was superb. Vina by Murali Krishna, flute by Nikhil Aynoor and mridangam by Sreehari Menon contributed in no small measure to the success of the performance.
