3 days ago
Grace and devotion in harmony: Ludhmilla Sagar's arangetram mesmerises Hyderabad
Priya Venkataraman is known for her adherence to the classical, traditional repertoire of Bharatanatyam. She received her early training under the esteemed Guru Saroja Vaidyanathan and continued her learning with Gurus A. Lakshman and Bragha Bessell.
Young and talented Ludhmilla Sagar, a student of twelfth standard, is an avid basketball player and an enthusiastic debater. She has also undergone rigorous mentorship and tutelage under her Guru, Priya Venkataraman, which has led to a disciplined learning of her chosen art form. Both student and guru are based in Delhi. However, as Ludhmilla's extended family lives in Hyderabad, her arangetram was conducted on a Saturday morning at Ravindra Bharathi.
The stage was profusely decked with flowers, evoking a festive atmosphere. The opening invocatory piece was, as usual, a Pushpanjali or salutation. In Malayamarutham ragam, it was competently delineated by Ludhmilla, who was adorned in a red and green aharya (costume).
The central varnam was 'Innum En Manam' in Charukesi, composed by Lalgudi Jayaraman. This extensive varnam showcased the young dancer's abilities and was keenly appreciated by the audience. Here, the nayika or heroine is pleading with Lord Krishna to remove her pain and suffering. Krishna is beseeched not to pretend ignorance of the nayika's longing for him. The beautiful Lord is humbly requested to alleviate her agony.
Ludhmilla's eyes were expressive in these emotive stanzas. Why is the player of soulful flute music and lover of butter hiding from his ardent devotee? Is his affection false and his mind hardened against her? His flower-like eyes, curling locks, and peacock feather ornaments are visible everywhere to the nayika as she recalls his mischievous deeds.
Her body and mind fill with joy, like the tides rising with the advent of the full moon! As the symbol of true love appears at the appropriate time, his smile lights up the entire world.
The focused lighting made her second costume—red and gold—shine as Ludhmilla appeared on stage after a brief interval.
'Pahimam Shri' is a keerthanam in Janaranjani ragam on Goddess Raja Rajeswari by Maha Vaidyanatha Iyer. Obeisance is paid to the kind consort of Shankara, as she bestows unsurpassed happiness.
Enchanting, riding on her lion vahana, she destroys demons and grants boons. She was beautifully portrayed as a river of kindness gracing those who pray to her.
The next piece was a joyous song by Ambujam Krishna in Mohana Kalyani. This most melodious and popular raga was adorned with lyrical praises of the blue God. As the wondrous dance of the Lord unfolds in Vrindavan, the matchless and ravishing Gopis come searching for him on the Yamuna River's banks, as the moonlight softly glows, bathing the scene in brilliance. Ludhmilla showed in detailed gestures the fish or makara-shaped earrings, the crown decorated with nine jewels, and the scented flowers adorning him. The Gopis' eyes fill with love at his glorious presence. Her angika abhinaya was excellent in this piece.
An exquisite javali by Dharmapuri Subbaraya Iyer in Khamas—'Ye Ra Rara'—gave scope for finely textured shades of entreaty and impatience in abhinaya, which were emoted subtly and with restraint.
The heroine pleads that she is overcome with desire, having been struck by Cupid's arrows. When the Lord is called, he rejoices in conversation and is pleaded with to take her hand. As she pines for him, the nayika wishes that Lord Venkatesha enfold her in his loving embrace.
The thillana in Kadanakuthuhalam was a fast-paced work of pure nritta, danced briskly. This composition of Balamuralikrishna, with a few lines of sahityam, was followed by the concluding mangalam.
Priya Venkataraman handled the nattuvangam with crystalline clarity. The vocals, rendered by Venkateshwaran Kuppuswamy, were amazing, soaring into higher notes with ease. Manohar Balachandran on mridangam and Raghavendra Prasad on the violin were outstanding. Murali, our very own Hyderabad flute artiste, was meticulous in raga definition, setting the mood for every item.
Prof. Alekhya Punjala presided as the chief guest, and Dr Naik was the guest of honour.
