(this is related to our post on Anita Sivaraman)
Remark: I don’t know why dancers post on YouTube the worst or most boring fragments from their recitals!
If you attended Anita Sivaraman’s recital at Bharat Kalachar, you would understand that she is a “perfected” and refined form of Swathy Ashok, if we can say so. This time her abhinaya was indeed more profound, and evoked the vivid images of the stories. I think that this vividness comes from the colourful and lively techniques of Kuchipudi and Srikanth’s style of Bharatanatyam that she learnt. Which is one of the main reasons Savithri Jagannatha Rao and Radha did not like it (as well as the presence of karanas) at the Cleveland competition.
It is not just a matter of style but a matter of how expressive your face is. Anita’s face can produce thousands of nuances of fast-changing expressions and as many degrees of intensity and saturation. If your palette is not rich…. Set your monitor to 256 colour palette and open your own photo. Will you like it? No-o-o-o-o-o-o-o…
If you know another dancer of Anita’s age who has personally choreographed all of her items, let me know: I will be surprised. In her choreographic genius, Anita manages to squeeze up to 5 times more detail in the same passage than an average Bharatanatyam dancer in Chennai.Drink the 100% orange juice, and then drink a 20% (diluted) orange juice that is available in most shops in Chennai.Or Delhi. Priya Venkatraman’s recital (a very good one, by the way) felt quite insipid – after watching Anita’s.
The elaborate richness of Anitha Sivaraman’s abhinaya nuances is intimately connected with her state of mind and her imagination. “Internalization” is a dancers’ term for it, and here, to be frank, there is quite a scope of improvement in Anita’s case. This is what makes the clear and lively images appear in the rasikas’ minds. Actually, not only minds. The Tantrics of Andhra are notorious for materializing things by power of their imagination. Know Sai Baba of Puttaparthi, eh?
On top of that, the sheer variety of rhythms, jathis, mudras and even karanas (there could be more of these, though, and a couple of them could be done more fully – like this) keeps our attention glued to the dancer (very important in case of the easily distracted American audience). Interestingly, I asked 2 well-known Bharatanatyam gurus about their analysis of certain small and distinct passages from Anita’s items. The gurus passed some general comments (Nice, Great, Beautiful, etc), which showed that their minds were clearly not in an analytical mode: they were just lost in Anit’s joyous dancing. Anita’s enthusiasm was so infectious!
In the beginning of the varnam, she depicted the dances of Shiva and Parvathy with finesse, although the quick transitions from tandava to lasya need to be perfected and made sharper and clearer. The choreography was simply superb. However, the dancers have to understand that watercolours are not quite suitable for Bharatanatyam: after Anita finished portraying Ravana, in a couple of instances she could not change her expression to Shiva’s as fast as she planned, so there was some leftover expression on her face. I suspect Anita is planning to become the fastest dancer in abhinaya. Curiously, I noticed that the faster you speak, the faster you can move your face. Want to try? 🙂 It is related to the proportion of tamas in your system.
Combining two themes (Ravana’s lifting the Kailasa and Nanadar’s path to the realizatin of the Shiva) in one varnam is questionable. Why not split these into 2 separate items? Yes, both are about Shiva, but…
Anyway, whether Anita realized it or not, she – along with the orchestra – did manage to bring the presence of Shiva much closer to the rasikas. One of the best realizations of Shiva’s nature that I have ever seen! Nobody was chewing chips or talking on the mobile. Everybody, even the gate keepers standing with open mouths, was engrossed in the highly spiritual experience. I think Anita is the most popular dancer in the US temples.
Muralidharan shook off his customary laziness and did a good job of instrumentation of the music so that it brought out the essence of the topics Anita was depicting. He created most of the jathis too.
The musicians were marvelous! What the orchestra did was to vary the tempo (I am not talking about kala ) gradually in most pieces. A typical Bharatanatyam dancer sticks to 3 flat (even) kala, but few manage to achieve a variety of tempos in each kala. In Anita’s thillana in particular, no single tempo was held for more than, errrr, 10 seconds? In other words, the tempo was constantly changing, practically all the time. Towards the end (5-10 seconds before) of each piece there was a significant change in the totality of the music, which emphasised the culmination of each item. Normally, the ending of items are not so clearly defined. I think here we have some western influence, but so well integrated into Anita’s items that it looks natural.
Sometimes I did not know whether to look at Anita or at the musicians. Take K.S.Sudhaman, for instance. I have never heard a mridangist who would manage to achieve a greater dynamic range and fit a greater variety of beats into one talam!
On top of that, he was accompanied by a tabla player. Very interesting combination. Preethi Mahesh was nearly excellent, although her voice’s tonal quality need to be cleaned.The veena player, M.L.Narayanan, was doing a great job, especially in the varnam, which was about Ravana playing the veena (remember made of what?). Priya Venkatraman does not understand that the veena (if played by a master) can be by far more effective instrument than the violin.
One thing I don’t like about many musicians and Muralidharan in paticular is how they fleece the dancers regardless whether these are mediocre dancers who deserve such treatment or the outstanding dancers who should certainly be treated differently. You can of course convert your musical talents into hard currency, but if you become too greedy, and a kind of vampire… I feel that gods will not give Muralidharan in his next birth a musical gift to sell. He may rather become a hungry mosquito…. It is a pity to see how money and greed destroys people. Unfortunately, many great artistes believe that their works of art “belong” to them, that they can “sell” them. Eventually, the slender river of inspiration dries out, and these people end up their life without any musical taste left.
“It is the NRI’s who have promoted Bharat Kalacharam, even more than the resident Indians”, uttered the professional speaker Mrs.YGP after mentioning that she conferred the title of “Yuvakala Bharati” on Anita Sivaraman. At Bharat Kalachar, there are no competitions: Mrs.YGP doesn’t like these: there is a risk a non-PSBB student could win the prizes. So, there are only titles.
Mrs.YGP is known to utter some politically motivated nonsense, such as “If X is a good dancer, it is because she is studying in a Padma Seshadri school”, and then “Even though Z has not studied in a Padma Seshadri school, she dances as if she did study at a Padma Seshadri school. She is always welcome to join a Padma Seshadri school”. Well, Mrs.YGP has a hobby of gathering good dancers and musicians around herself (Bharat Kalachar). Mrs.YGP personally persuaded such a well-known personality as MH to join a PS school too. The PS school teachers do not scold Bharatanatyam dancers for low marks. The Bharatanatyam dancers get extra bonus marks for any subject. Want to skip an exam? Ok…. Parava illai. 🙂
Mrs.YGP is too old not to distinguish between a good artiste and a bad one, and occasionally gets quite annoyed when some dance VIP pushes a useless dancer upon her.Well, why did Madam arrive only towards the end of Anita’s slot then??? She knows that, within 5-10 years, she will cross the border of life and enter a world where there is no politics, and no Bharat Kalachar. What I also know for sure is that her sins will be effaced by her good karma, so she will spend a long vacation (before the next incarnation) in a happy world of gandharvas. She will not reach higher. Maybe next time.