Jwala Rejimon's Arangetram - Indiana,
15th August 2015
Thanks to technology we now have access to good performances more so of young talent available easily. For young dancers.. it means that they can now reach larger audience from around the world making it easy to get recognition. I had the opportunity to view a Bharatanatyam Arangetram - 15th August 2015 performed in Indiana, by young Jwala. She is the disciple of Smt
About Guru: Smt Mangala Anand trained under Smt. Padmini Ramachandran (Natyapriya Institute- Bangalore who learnt from veteran Guru.
Padmashri. Vazhuvoor Ramaiah Pillai) and from Guru B Bhanumati (who had the privilege of the tutelage of Padmashri K.N.Dandayuthapani Pillai at Chennai,
Padmabhushan Dr.K.Venkatalakshamma, the doyen of Mysore Palace tradition and Padmabhushan Smt. Kalanidhi Narayanan).
Here is a report on the abhinaya items of the margam in the arangetram. The items were choreographed by her Guru
and consisted Varnam, a Sabdam and a Devarnama in the margam following the invocation and nritta items. Young dancers take to the high energy and pace of the
nritta items of the margam with comfort and alacrity. Past the nritta items, the weave of the emotion is what is eagerly awaited in the margam.
Interpretation behind the abhinaya items helps us to appreciate the performance a lot better. There is an added advantage where the choreographer happens to be the Guru as the explanation is conveyed to the disciple first hand. In her performance Jwala steadily graduated through abhinaya and showed her
understanding of the lyrics, musical notes. The jathis smoothly flowed perhaps owing to the lineage of the Gurus style. Smiling face of Jwala was lighting them all through.
Ragam:Ragamallika Thalam:Misra Chapu
Composer: Thanjavur Arunachalam Pillai
The romantic elements unfurled in the sabdam and varnam. The intensity of Thillai Ambalam requires elevated expression where the Nayika is in a state of
wonder, praise and devotion and very intense in her seeking of her Lord. The anxiety and lingering doubt whether she would at all meet Him make the expression challenging. She is all searching for her Lord and conveys the same to her Sakhi in the very abode of Lord Nataraja, in Chidambaram. Jwala's performance to the choreography was neat. Note the prominence given to dance in this lyric!
Ragam: Sankarabaranam Thalam: Adi Thalam
The young dancer took to the varnam with more ease. In the "Sakhiye.." Jwala's portrayal of the nayika is one of involvement. Her Guru's training in the
delicate portrayal, and distinctness are visible.
It's the dancer who opens the doors of the choreographic content and to its expressive interpretation. In this item Sakhiye... the nayika finds in
her friend an ideal confidante, to at first share her feelings about her lover, then seek help from her in a pleasing manner and finally opening her heart and
appealing to her friend to bring her nayaka to her. The devotion and complete faith in the Lord conveyed by the lyricist need special note. The dancer's talent lies in
depicting the nayika through the gradual ascension and intensity of this feeling through the item. With her smiling face Jwala initiates the item at first chiding her
sakhi about the delay, then describes her generous Lord and convinces her sakhi to take up the task of uniting her with the nayaka. The
depiction of Sri Venkateswars, Lord Rama, and Lord Krishna, stand out.
Devarnama :- Gummana Karayadhirai Amma
Ragam:Ragamallika Thalam: Chathushra Eka Thalam
Composer: St. Purandaradasa
Sri Purandaradasa's weave of a beautiful incident between Yasoda and Krishna is found in this devotional item. Created with crisp choreography it makes you feel a mother's love to her supreme naughty child. The item starts with the episode of Krishna stealing butter. Yasoda confronts him while in that act.
as he pleads to melt her heart... Jwala becomes Yasoda who introduces Gumma the imaginary demon to control the mischief supreme, Lord Krishna. The ragamalika was rendered beautifully to moving moments of Krishnaleela and to Yasoda's predicament. Jwala depicts both roles distinguishing them skillfully. Her portrayal of Krishna is very impressive. We are blessed with such a divine lyric from Purandaradasa, and being dancers even more fortunate to enact it.
Through the above abhinaya items, Jwala performed an intense seeker of Lord Shiva wondering and in awe to a Nayika who comes out confident about her Nayaka, Lord Vishnu, and a mother who with all love and affection disciplines her dear son Krishna. Quite an expansive range of emotions she displayed and so much for her to explore in the beautiful dance form Bharatanatyam. Looking forward to watch her performances.
It is interesting to note that in some of the performances of dancers abroad, a similar depth in the emotional portrayal is found as in dancers from India. One reason, as in this performance, is perhaps a continuing Guru Shishya Parampara. The connect to culture and traditions of the younger generation is intact in India or abroad. Congratulations to Jwala and her supporting artists.
Nattuvangam: Smt. Mangala Anand;
Vocal: Smt. Arthi Kumar;
Mridangam: Sri. G. Ganeshan;
Flute: Sri. C. K. Patanjali;
Violin: Sri. C. K. Vijayaraghavan;
Pic Credit- Jwala, India, Hamara, Bharatanatyam,
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*Jwala, Bharatanatyam, Arangetram, Bhavanvitha, Indiana, Mangala Anand, N07.15.1*