The recent Bharatanatyam performance by Chennai-based Uma Sathyanarayana was an artistic study of her own style, says Utpal K Banerjee

Classical Bharatanatyam, having originated from the devadasi (God’s maid) dance tradition in temples, had its abhinaya (expression) as ritualistic — in conformity with the rules as set by the ancient texts — rather than realistic, since the spectators, comprising the priests and the laity, were expected to know the rules to appreciate the form. This was particularly true for the prevalent Pandanallur style, adopted by doyens like the Thanjavoor brothers of the royal court in the late 18th century and continued to be followed by subsequent gurus right up to Meenakshi Sundaram Pillai and adopted in Kalakshetra. In contrast, the Vazhuvoor style — evolved later under guru Ramaiah Pillai and his progeny — did not deviate from the rules of Natyashastra, but adopted abhinaya that was relatively realistic and was a major jump forward.

In Vazhuvoor, the main features include: rich sringara (amorous) elements; wide range of dancing pace; soft facial abhinaya; extraordinarily elaborate movements; deep sitting postures; and a variety of positions on the floor. More distinctive characteristics are that the performance generally begins with a Thodaya Mangalam in praise of the lord of Vazhuvoor; the dancer starts the performance while entering the stage from the wings; static postures are performed, most often in the tillana, to break the monotony and to add the variety of rhythms; the jatis have more korvais (intervals), which creates a suspense effect; the dancer’s torso from the waist up is slightly bent forward; the adavus (basic dance postures) flow smoothly with rare abrupt movements; beautiful leaps are introduced into every jati; abhinaya is subtle with more natyadharmi (spontaneous expressions), so that the presentation is not “overdone”, and above all, lasya (soft movements) dominates tandava (virile gestures).

The recent Bharatanatyam performance by the Chennai-based Uma Sathyanarayana at the IHC was an artistic study of her own style. Groomed carefully by Chennai’s Vazhuvoor luminary Chitra Vishveshvaran, she began by Pravahanjali, an ode to the Ganga, with a dancing entrée: with musical support immaculately designed by Vishvesh — the late lamented husband of Chitra — in raga Puriya Dhanashri. Etched in a lyrical flow, in consonance with the sacred river’s meandering gait, this was ample compensation for a Thodaya Mangalam. Next was her magnum opus of the evening, a Pada Varnam in raga Kurunji. Set in praise of Muduga (Kartikeya), this was an out-and-out exercise in sringara where the heroine is pining for her lord and entreating her companions to alert him about her existence. Delicacy of her lasya was written all over the postures, with tandava severely banished. While jatis could have more suspenseful intervals, one could not fault her for her leaps and pirouettes, which were there aplenty.

The 17th century Puranadara Dasa padam came through surprisingly well. The child Krishna’s coddling and fondling by mother Yashoda — usually a strong point in Bharatanatyam choreography, set in motion by Bala Saraswati in her ever-memorable stint: Krishnani Begani Baro — came through with great clarity. It rose to a crescendo in the concluding stretch of Krishna’s Vishvaroop Darshana that was magnificently done. The finale was a tillana in raga Hindolam. Being a variant of the Hindustani raga Malkaunsh, the composition had its own lilt to the northern audience: punctuated by static postures, rhythmic varieties and suspenseful intervals. Excerpts from the interview with the dancer:

How long have you been into the Vazhuvoor styleIJ

It has been 14 years now. I was earlier Bangalore-based where I was learning Mysore pani (sub-style) of Bharatanatyam from a disciple of Saroja Srinivasan. Now settled in Chennai, I find Vazhuvoor far more feminine. I am honoured and humbled by the Bismilla Khan Yuva Purashkar that I received and shall be performing for Sangeet Natak Akademi later on. This is my first encounter with the Delhi cognoscente!

In the South, what is the proportion between Pandanallur and Vazhuvoor adherents among dancersIJ

I should say Pandanallur dancers outnumber Vazhuvoor by 4:1. Aborad, too, Vazhuvoor dancers are in a fistful of minority.

What are the features of Vazhuvoor style that attract you the mostIJ

The style has a gracefulness — full of wonders — that draws me most. It also has an enormous fluidity. You will be surprised how much cadence a good nattuvanar (conductor with cymbals) can extract out of an individual dancer, on a one-to-one basis, in our form.