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 Tribute to K. Vasudevacharya - T.H. Sudhamani January 18, 2015  On the eve of Diamond Jubilee celebrations of Nada Brahma Sangeet Sabha,
Mysore, and 150th year birth anniversary celebration of K.
Vasudevacharya on 4th January 2015 at Sabha Auditorium, Mysore, Dr.
Vasundhara Doreswamy was honoured with the title ‘Natya Brahma.’ On the
occasion, she presented some compositions of K. Vasudevacharya in her
solo presentation titled ‘Vasudeva Vybhava.’Whereas Vasundhara’s incorporation of yogic postures adds to the gorgeousness of the dance form, regular practice of yoga helps her in perfecting the geometry of movements making the choreographies a visual treat. Martial arts provide inestimable vibrant energy to these movements. Use of singular hastas, alluring gaits, abhinaya which can communicate easily with the common man, modifications of the adavus, aharya, inimitable feather-touch footwork, all within the traditional framework, have led to a unique footprint that is today identified and recognized as “Vasundhara style.” The primary objective of the style is to use angikaabhinaya for aesthetic delineation. These innovations have been instrumental in taking Bharatanatyam to a wider audience through her three generation of students around the globe. In her three hour solo presentation, she made all deities descend to the stage and proved beyond doubt that she is a choreographer par excellence in her nritta, nritya, and abhinaya showcasing the imprint of her style. Vasundhara commenced her Bharatanatyam with Mela-Prapti in sankeerna chapu tala followed by Ma Mamavathu Sri Saraswathi in praise of goddess of knowledge Saraswati. Pahima Parameshwara Shankara in raga Shuddha Saveri, adi tala, depicted Ardhanareeshwara, Neelakanta and Bhakta Markandeya in bhakti bhava. The striking jathis by Sandesh Bargava and perfect mridangam by Balakrishna mesmerized the audience. Gokula Nilaya in raga Abheri was full of ananya bhakti (total surrender to lord Krishna). The lord protects the bhaktas under the umbrella of Govardhana Mountain, and thus he is called Govardhana Giridhari. Her abhinaya and sancharis were remarkable while Krishna Prasad’s melodious flute added the touch of thrall. The centre piece Gati Neuane was in raga Saraswathi - O Lord, I consider you to be the only protector. In this varnam, Vasundhara depicted Draupadi vasthraapaharana and Sri Krishna Tulabhara with comprehensive abhinaya and well accentuated depiction of poses and movements giving a depth to her creative presentation. Her abhinaya stressed more on the bakthi aspect. Her angasudda was captivating in the traditional mould. In the second half, she chose Ra Ra Rajeeva Lochana Rama in Mohana, a javali in Kamach raga and roopaka tala, Sri Chamundeshwari Palayanam in Bilahari in praise of Goddess Chamundeshwari that included Mahishasura Mardhani, and finally tillana in Charukesi. She was ably supported on nattuvangam with crisp and striking jathis by Sandesh Bharghav, perfect beat of mridangam by Balakrishna, soulful singing by B. Vasudha, melodious flute by Krishna Prasad and striking rhythms on rhythm pad by Kartik. |
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