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Achieving the ImpossibleA performer of classical dance on stage for more than five decades.... still continuing to perform as she did twenty or more years ago. Impossible one might say. That word obviously does not exist in Vyjayanthimala Bali's vocabulary. She performed to a packed auditorium in Music Academy, Chennai, during the December cultural festival. Her agility, her enthusiasm and her sincerity was very moving. A lesson for all young dancers to learn from.An invocation in Nattai ragam folowed by a composition of the Tanjore Quartet the Thirugnanasambandham Kauthuvam in Arabi ragam, were Vyjayanthimala's first items. A short crisp piece from Andal's Thirupavai in Kanada ragam 'Alalae illun kiliye' was performed next.
The araimandi and the anga shudam ie the posture of leaning slightly forward with a straight back etc. were all there and more. Vyjayanthimala's face and figure seem untouched by the passing years. If there is any change to note, she actually looked trimmer and more agile. Without taking a break after the varnam she came back onstage with a catchy folk tune. Lord Shiva as chokkanathar of Madurai introduces himself and his family... I have two wives, Parvathi and Ganga. I have three children, Ganapathy, Velavan and Veerabhadran. My wife Parvathi gets angry with me... I do not like my children either. Ganapathy insists that everyone come first to him when they start some work. Velavan went disguised as an old man to win valli. Veerabhadran is always spoling for a fight.... Chokkanathar goes to earn his wage as a poor construction worker. He is beaten up by his employer.... and finally he reveals himself. This piece was moving as well as entertaining and presented Vyjayanthimala in all her story telling skill. She wrapped up her dance recital with a Mangalam in Madhyamavati ragam, composed by the Tanjore Quartet. The piece Mangalam Pradambulichu was dedicated to Devi Meenakshi. Vyjayanthimala portrayed the goddess sitting on a lotus, very gracefully and aesthetically. Vanathi Raghuraman sang very well. Subhashini Chandrasekar's nattuvangam was also competent. Ramana on the flute, Suganthi Seshadri on the violin, and Chandrasekar on the mridangam performed well. |
The dancer chose a Tana Varnam in Pantuvarali ragam by Sri K.P. Kittappa Pillai - 'Challamu Chesedi mer kadhu ra'. A bhakthi laden song, it is dedicated to Lord Brihadeeshwara. In the line 'Elalo Velaya Shri Brihadeeswara' Vyjayanthimala describes the nayaka as the one who has the half moon and Ganga on his head, the snakes entwining his body... Her expressions were so fluid and so appropriate. It did not seem to be a conscious effort to emote. It seemed to come from inside. Her jathi korvais too were a treat to watch. Her feet missed not one beat and her arms stretched to their fullest in whichever direction necessary in order to complete the adavus perfectly.
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