On April 5, 2008 at the Coral Springs High School Auditorium, the beautiful Krishnan sisters completed their Bharatha Nrithya Arangetram.
Dancers are generally taught to smile to enhance their performance. But how do you smile when you are enacting a character like Manthara, the evil house maid of Kaikeyi in the epic Ramayana. Karunya Krishnan did a superb abhinaya (acting out) as Manthara during the Varnam. Another excellent rendition was her depiction of the abandoned wife of the prince Siddhartha who renounced the family and became Buddha. Karunya had a lot of scope to show a variety of bhavas (emotions) like anger, haplessness, total despair and finally understanding of the immensity of her husband’s spiritual destiny. The concept was Karunya’s brainchild; her grandmother, Mrs. Kamu Ayyar, created the verses; and Karunya performed it as a solo number – talented family. This was a well orchestrated unique dance item – great job. We surely have not seen the last of this particular dance. With more performance experience Karunya can continuously improve and show a lot more depth in the display of emotions.
Karunya, the elder of the two, was mature in showing bhava and abhinaya and the sheer number of years of training was evident. The much younger Lavanya was energetic, fast and agile. Lavanya was a source of support to Karunya and also showed what she was made of during some of her solo items. What a phenomenal opportunity at such a young age to showcase her talent. Lavanya had a good sense of sense of thalam and rhythmic movements. The sisters were taught in the unique style created by the dance genius and living legend Dr. Padma Subramanyam. Their guru, Mrs. Sangeetha Sridhar, was one of Dr. Padma Subramanyam’s direct students and a South Florida resident.
A two-person dance performance also offered some unique opportunities to choreograph the dances. The Krishnan sisters and the dance teacher took full advantage of this. Varnam, within the Arangetram performance is a combination of all aspects of the dance along with an opportunity to enact a story. The Krishnan sisters enacted several episodes within Ramayana during the Varnam. In a dance Arangetram or performance, Varnam is also considered an endurance test for the dancers as it is usually around 40-minutes. During their next performance, the sisters should both go the full length on stage for the Varnam performance.
The following are the dance items during the Arangetram:
Thodaya Mangalam/Pushpanjali
Alarippu with Thiruppugazh
Kavuthuvam (solo number by Lavanya)
Jathiswaram (the orchestra came beautifully together on this Kamaas song performed solo by Karunya)
Varnam in Kalyani (great scope for footwork, show of emotions, graceful dancing along a story line)
Angayarkanni in Karaharapriya (beautiful dance about a beautiful Goddess Meenakshi)
Nyayama Swami (fantastic lyrics by Mrs. Kamu Ayyar performed solo by Karunya – Great job)
Kavadi Chindu (good show of energy by Lavanya performing solo)
Thillana in Sumanesa Ranjani (unique raagam, brisk performance by both) and
Mangalam
Live music always enhances dance performance. On the mridangam Sri Murali Balachandar was simply superb from the get go. The clarity of sound in his strokes and flawless rhythm was truly a treat. Our very own Sri Madhu Chandrasekaran, with his powerful voice and tireless training over the years has blossomed into an excellent singer to support dance performances. His voice modulations were fantastic and he can capitalize on it more. Madhu is blessed with an ability to bring out the emotions of specific passages in his voice. Professional flautist, Sri V.K. Raman was terrific and I especially enjoyed his rendition of Kamaas and Kalyani. Another well known South Florida talent, Sri Sanjay Chandran on the violin showed his mastery over Kalyani and his alapana in Hamsanandi in the Carnatic style was refreshing. The songs were set to a variety of thalams, keeping up the interest levels. Kavadi Chindu in Adi thalam in Thisra nadai was very energetic.
The arrangements for the performance were great including stage decorations by Mrs. Vijaya Para. Mrs. Kamu Ayyar was brimming with pride to see her beautiful granddaughters dance to her beautiful lyrics.
Our community in South Florida is blessed with talented students, dedicated teachers, involved parents and encouraging audience. This is a great combination for sustaining an art form such as Indian classical dance on American soil. In addition, we have professional grade supporting artists to take the art to a much higher plane. It takes a lot of courage for the dancers to even accept for an Arangetram performance. The pressure for performance is enormous from the family, friends and most of all from the Guru. Young dancers who come forward and take on a challenge like an Arangetram performance learn a tremendously valuable lesson that will follow their entire life. It takes a lot of practice, perseverance and patience to master this art form. Most of all, it takes a total dedication to their teacher or Guru Bhakthi.
Karunya and Lavanya – As I always say to all aspirants of this great art form – continue to learn, perform and teach. Keep the dance as an integral part of your life, as it is a unique blessing. Jayanthi aunty joins me in blessing you both to achieve everything your heart desires.
Dancers are generally taught to smile to enhance their performance. But how do you smile when you are enacting a character like Manthara, the evil house maid of Kaikeyi in the epic Ramayana. Karunya Krishnan did a superb abhinaya (acting out) as Manthara during the Varnam. Another excellent rendition was her depiction of the abandoned wife of the prince Siddhartha who renounced the family and became Buddha. Karunya had a lot of scope to show a variety of bhavas (emotions) like anger, haplessness, total despair and finally understanding of the immensity of her husband’s spiritual destiny. The concept was Karunya’s brainchild; her grandmother, Mrs. Kamu Ayyar, created the verses; and Karunya performed it as a solo number – talented family. This was a well orchestrated unique dance item – great job. We surely have not seen the last of this particular dance. With more performance experience Karunya can continuously improve and show a lot more depth in the display of emotions.
Karunya, the elder of the two, was mature in showing bhava and abhinaya and the sheer number of years of training was evident. The much younger Lavanya was energetic, fast and agile. Lavanya was a source of support to Karunya and also showed what she was made of during some of her solo items. What a phenomenal opportunity at such a young age to showcase her talent. Lavanya had a good sense of sense of thalam and rhythmic movements. The sisters were taught in the unique style created by the dance genius and living legend Dr. Padma Subramanyam. Their guru, Mrs. Sangeetha Sridhar, was one of Dr. Padma Subramanyam’s direct students and a South Florida resident.
A two-person dance performance also offered some unique opportunities to choreograph the dances. The Krishnan sisters and the dance teacher took full advantage of this. Varnam, within the Arangetram performance is a combination of all aspects of the dance along with an opportunity to enact a story. The Krishnan sisters enacted several episodes within Ramayana during the Varnam. In a dance Arangetram or performance, Varnam is also considered an endurance test for the dancers as it is usually around 40-minutes. During their next performance, the sisters should both go the full length on stage for the Varnam performance.
The following are the dance items during the Arangetram:
Thodaya Mangalam/Pushpanjali
Alarippu with Thiruppugazh
Kavuthuvam (solo number by Lavanya)
Jathiswaram (the orchestra came beautifully together on this Kamaas song performed solo by Karunya)
Varnam in Kalyani (great scope for footwork, show of emotions, graceful dancing along a story line)
Angayarkanni in Karaharapriya (beautiful dance about a beautiful Goddess Meenakshi)
Nyayama Swami (fantastic lyrics by Mrs. Kamu Ayyar performed solo by Karunya – Great job)
Kavadi Chindu (good show of energy by Lavanya performing solo)
Thillana in Sumanesa Ranjani (unique raagam, brisk performance by both) and
Mangalam
Live music always enhances dance performance. On the mridangam Sri Murali Balachandar was simply superb from the get go. The clarity of sound in his strokes and flawless rhythm was truly a treat. Our very own Sri Madhu Chandrasekaran, with his powerful voice and tireless training over the years has blossomed into an excellent singer to support dance performances. His voice modulations were fantastic and he can capitalize on it more. Madhu is blessed with an ability to bring out the emotions of specific passages in his voice. Professional flautist, Sri V.K. Raman was terrific and I especially enjoyed his rendition of Kamaas and Kalyani. Another well known South Florida talent, Sri Sanjay Chandran on the violin showed his mastery over Kalyani and his alapana in Hamsanandi in the Carnatic style was refreshing. The songs were set to a variety of thalams, keeping up the interest levels. Kavadi Chindu in Adi thalam in Thisra nadai was very energetic.
The arrangements for the performance were great including stage decorations by Mrs. Vijaya Para. Mrs. Kamu Ayyar was brimming with pride to see her beautiful granddaughters dance to her beautiful lyrics.
Our community in South Florida is blessed with talented students, dedicated teachers, involved parents and encouraging audience. This is a great combination for sustaining an art form such as Indian classical dance on American soil. In addition, we have professional grade supporting artists to take the art to a much higher plane. It takes a lot of courage for the dancers to even accept for an Arangetram performance. The pressure for performance is enormous from the family, friends and most of all from the Guru. Young dancers who come forward and take on a challenge like an Arangetram performance learn a tremendously valuable lesson that will follow their entire life. It takes a lot of practice, perseverance and patience to master this art form. Most of all, it takes a total dedication to their teacher or Guru Bhakthi.
Karunya and Lavanya – As I always say to all aspirants of this great art form – continue to learn, perform and teach. Keep the dance as an integral part of your life, as it is a unique blessing. Jayanthi aunty joins me in blessing you both to achieve everything your heart desires.
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