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 A bud into a bloom - VAK Ranga Rao January 18, 2025 Decades ago, when I was writing reviews of dance recitals in a city daily, I noticed a young dancer with grit. She was Meenakshi Sabanayakam. Performing in the Pandanallur style, there was a winsome commitment in her approach. I was taken aback when I learnt that she gave up dance. Happily Bharatanatyam reclaimed her after a while. With her married name as Meenakshi Chitharanjan she returned to the stage. I attended her performance a few days ago. Under the unobtrusive nattuvangam of her guru's son, Pandanallur Pandian, well-supported by Sakthivel Muruganandam on the mridangam, conducted the programme. Vocals by R. Gomathinayakam merged seamlessly with the nattuvangam and mridangam. Athul Kumar's flute flashed intermittently like a gentle lightning.  Meenakshi Chitharanjan (Photo: Mahesh) Following the obligatory and sincere 'guru stuti' and after a Todi Jathiswaram by her students in impeccable unison, she went into the Varnam. This was by Pandanallur Meenakshisundaram Pillai in Vachaspathi-adi. 'Sarasudu neeveyani chala namminanura' was its refrain. She interpreted its meaning, 'I ardently believed that you are my lover', at various levels, an attraction at first sight, deepening in time to heat her up in pangs of separation. His greatness as unique in the world, 'Dharalo neevanti mahodarudu', was established with dignity and variety. Ghanam Krishna Iyer's 'Unnai doothu anippinen', in which her gentle remonstrance, 'I sent you as a messenger and you stole his affection' was moving. The Thillana of Mysore Seshanna (Janjhuti-Adi) was a welcome ending, a staccato spell of rhythm. The concept and choreography were by Meenakshi herself. A satisfying programme on the whole.  VAK Ranga Rao is an eminent film, dance critic, historian and archivist. His love for cinema, music, facts and documentation has helped him gather 52,000 gramophone records in nearly 35 languages. This varied exposure makes him a treasure trove of knowledge, a walking encyclopaedia. |
