{"id":6898,"date":"2025-02-08T08:55:48","date_gmt":"2025-02-08T08:55:48","guid":{"rendered":"https:\/\/artion.in\/news\/?p=6898"},"modified":"2025-02-26T10:35:19","modified_gmt":"2025-02-26T10:35:19","slug":"review-rama-vaidyanathan-apsaras-arts-the-music-academy","status":"publish","type":"post","link":"https:\/\/artion.in\/news\/review-rama-vaidyanathan-apsaras-arts-the-music-academy\/","title":{"rendered":"Review – Rama Vaidyanathan & Apsaras Arts @The Music Academy"},"content":{"rendered":"\t\t
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\n\t\t\t\t\t\t\t\t\tRama Vaidyanathan commenced the evening with Swaroopa, an evocative presentation based on select verses from Tirumular\u2019s Tirumandiram. These verses celebrate the omnipresence of the divine, urging one to seek and experience Him in even the most subtle forms of creation. The divine was depicted as eternal\u2014neither born nor destroyed, but ever-present and unchanging. It was up to each individual to recognise His swaroopa in all of creation. The musical composition by S. Vasudevan beautifully complemented the complex yet seamless choreography of Rama\u2019s signature metaphors and fluid style.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tThe second piece was a varnam in Ananda Bhairavi raga, Swamine Rammanave, a composition by Shyama Sastry in Ata tala. The narrative revolved around a nayika enamored by Varadaraja Swamy of Kancheepuram, pleading to convey her love message to him. Rama\u2019s portrayal of Garuda Vahanam was majestic. Her depiction of the cupid\u2019s relentless arrow showcased an artistry so familiar that one could anticipate her movements. The poignant phrase, \u201cCan any flower sustain the heat of my burning body?\u201d was choreographed with an insightful touch. Sumod Sreedharan\u2019s expertly crafted jatis were well executed by Rama.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tThough Karthik Hebbar\u2019s vocals were commendable, occasional faltering during crucial segments slightly diluted the emotional impact. The expressions at Vittala and Meezale Besuva fell short of conveying the intended melancholy. Nevertheless, the portrayal of viraha taapam in the second charanam was deeply stirring, further enriched by Rama\u2019s compelling performance and the support of her accompanying musicians. The varnam concluded on a captivating note, with Rama symbolically snapping her fingers to highlight the value of time.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tThe third piece was an Abhang by Jana Bhai, where the poetess describes herself unveiling before Vittala. Breaking traditional norms, Rama portrayed a bold, unabashed courtesan at Vittala\u2019s court, challenging conventional Bharatanatyam narratives. Her seamless transition into Krishna led into the vibrant Rasa Vilasa Lola, beautifully capturing the celebratory essence of divine love.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tThe evening concluded with a group presentation by the Apsaras Dance Company from Singapore titled The Heroines of Raja Ravi Varma. The production commenced with dancers in Mohini Attam costumes performing Bharatanatyam steps, depicting Saraswathi Devi. Each scene depicted iconic moments inspired by Ravi Varma\u2019s paintings, with dancers mirroring the painted stances on stage against an LED backdrop. Highlights included Radha and Krishna\u2019s Raas Leela, Damayanthi represented through a mallari, and Yashoda depicted with songs like Enna Thavam and Jagodhodharana. Sita\u2019s poignant scene in Valmiki\u2019s ashram was creatively portrayed, though the song Yaro Ivar Yaro felt slightly misaligned with the context of her Bhumi Pravesha. The dancers matched their beautiful costumes with the painting, culminating in a tillana that brought the evening to a close.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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SOURCE: SRUTI<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Rama Vaidyanathan commenced the evening with Swaroopa, an evocative presentation based on select verses from Tirumular\u2019s Tirumandiram. These verses celebrate the omnipresence of the divine, urging one to seek and experience Him in even the most subtle forms of creation. The divine was depicted as eternal\u2014neither born nor destroyed, but ever-present and unchanging. It was<\/p>\n","protected":false},"author":1,"featured_media":6900,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[217,4],"tags":[],"class_list":{"0":"post-6898","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-bharatanatyam","8":"category-dance"},"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/posts\/6898","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/comments?post=6898"}],"version-history":[{"count":4,"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/posts\/6898\/revisions"}],"predecessor-version":[{"id":6906,"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/posts\/6898\/revisions\/6906"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/media\/6900"}],"wp:attachment":[{"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/media?parent=6898"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/categories?post=6898"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artion.in\/news\/wp-json\/wp\/v2\/tags?post=6898"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}