Pritam Das, a pupil of Rama Vaidyanathan, acting at Music academy’s dance competition on January 8, 2024.
| Photograph Credit score: PICHUMANI Ok
When Pritam Das, as famed devadasi Mannargudi Meenakshi, walked into the darkened court docket of Maharaja Serfoji and stood alone in a giant circle of sunshine and saluted the king, there was a loud gasp within the viewers. His female mannerisms and the sheer audacity of the concept of impersonation created an eerie feeling of déjà vu. Up to now, we’ve solely heard about court docket performances, and now we acquired to witness one.
Pritam, a disciple of Rama Vaidyanathan, has already made an impression as an agile Bharatanatyam dancer with nice strains and good footwork and azhutham. His piercing eyes can inform a story on their very own. If he can maintain this customary, he can attain nice heights.
The Devadasi act in ‘Nee saati dora’ (Bhairavi, Rupakam, Thanjavur Ponnayya) was filled with seductive nuances and gestures, some so brazenly sensuous and welcoming, one felt it was simpler for a male dancer to get away with it.
Scholar Jeetender Krishna says he’s certain that neither the king nor the dancers took the dance or the lyrics too severely.
The devadasi says the king is incomparable, talking along with her eyes alone. Whereas the king is unresponsive, the dancer tries to seduce him, with suggestive gestures like displaying a bee visiting a flower, when him sensuously.
In one other occasion, Pritam mimed the nayaka bhava, the king getting dressed, doing his prayer, practising the humanities, gifting different artistes, and coming to the girl on the finish of the day. The varnam appeared like an overdose, however was not tiresome due to the daring.
Nattuvanar RLV Hemanth Lakshman and mridangist Charudutt V.V. did a lot to maintain the tempo of the programme buoyant. Music by Bijeesh Krishna (vocal), Hariprasad Subramanian (flute) and Charulatha (veena) was pleasant. The jathis have been interesting and Pritam’s jumps into the full-sit Mandi adavus added to the vibrancy.
Pritam commenced with a melodious Pushanjali (R.Ok. Shriramkumar), adopted by Annamacharya’s ‘Vande Vasudevam’ (Sri, Khanda Chapu) visualised by Anupama Kylash.
After the varnam, he offered a choreography of his guru Rama Vaidyanathan, a tongue-in-cheek Ninda Stuthi ‘Nadamadi thirindha’ (Kamboji, Khanda Chapu, Papavinasa Mudaliar), ending with a thillana (Kamavardhini, 19-beat Ragavardhini tala, Poochi Srinivasa Iyengar).
