THE HINDU......AN EXPERIENCE OF A LIFETIME........writes Leela Venkataraman
Away from the spotlight, Bragha leads a quiet life. Yet when she takes the stage she dazzles with her
superb abhinaya, intensity and brilliant portrayal, all of which make her Bharatanatyam a jewel to be treasured.
For Delhi's dance lovers, the name of Braga rang no bells. Quite unlike the usual contmporary dancer jostling for publicity, for notice of VIP's, for awards and for economic benefits, Bragha leads a quiet life in Chennai, away from the glare of fame. Humble to a fault, this dancer attributes all her profficiency to her two gurus, Kunchitapadam in her initial years and, now for several years, Adyar K Lakshman. If any proof were needed that the Devi of dance in all her burnished glory and fullness prefers that patra or vessel which has no ego, then Bragha is the standing example.
Delhilites owe to Kalangan, founded by teacher dancer Jamuna Krishnan a hearty vote of thanks, for providing them the rare oppoertunity of watching Bragha. What emerged during the evening at India International Centre was an art experience , which for the lucky and wise ones who availed the invitation, will be cherished for a lifetime.
Ordinariness of presence is a blessing in disguise, for here is a dancer totally unconcerned with being pretty on stage. Nor is her general dance get-up an aesthete's delight. None of this matters for transcending Bragha theindividual, is the dancer, who as the dance emerges bcomes a thing of beauty.
Aesthetic simplicity marked "Nandi Chol" in which the mnemonic sounds associated mridangam of Nandi the bull, Shiva's vehicle, are assembled in rhythmic arrangements developed and expanded through the nritta passages. Bragha's movements have a precision and perfection which are made to look almost inevitable. Nor the slightest hint of an element to impress can be felt in the dance. Nandi Choll was followed by a short invocation "Neelakantha Mahadeva" in which the dancer with deft strokes of piercing intensity, evoked a feel of the same Veda loving Mount Kailash dweller - Shiva.
Of intense beauty is Bragha's abhinaya which is an article of faith with not a shade of the ungenuine marring what comes straight from the heart.
In the grand Tanjore quartet varnam in Shankarabharanum, the dancer's vision of Tanjavur LOrd Brigadiswarar, dazzled the viewer with her awsome depth and brilliant portrayal. It was so natural for the nayika to be stupefied with wonder at the sight of the Lord who carries the nimble footed deer in the hand, the swirling waters of the Ganga in the locks, the half moon on the head and a garland of serpents round the neck. bragha does nor require to draw out any image indefinitely. A few springy steps, a couple of jaunty strides and the audience experiences the full feel of the deer's leap or the hero's tread. The nritta interludes did not lag behind with the dancer's dexterity in executing a fast "sarukai" or mandi adavu in impeccable profile and timimg, despite the not too slim figure, coming as another source of pleasure in this interpretative/rhythmic entirety.
Watching the manner in which the concluding solpha passage had been spun into movement, one had an example of how closely dance caught and emulated the points of emphasis in the music. The glow spread by the dance was aided, not in small part by the musical accompaniment. Excellent vocal support by Haraiprasad, taut nattuvangam by Nityakalyani Vaidyanathan, sensitive mridangam by Anil Kumar and moving alap interludes on the violin by Sreenivasan combined in perfect harmony.
The abhinayas reached the height of stillness and internalised power in the rendition of the Kshetrayya Padam in Nadanamakriya "Ayyayyaa Vega Taayenee". In intoxicating slowness of tempo, the image of the pining nayika was drawn--- comparing the present forsaken state with the earlier joyous one when the beloved would insist on a lamp, in the waning light of dusk, so as to be able to feast his eyes on the nayika's beauty. Economy of gestures was the watchword. So little was used to say so much! What with the stirring singing as well, the Padam moved many to tears.
In the Navaras offer based on lines from the Soundarya Lahari, where Parvati is portrayed in various emotions evoked by the glimpse of Siva, each mood, as treated by the dancer, was a revelation. Moods such as disgust (bibhatsam), teasing laughter (hasyam) and compassion (karunyam) which are prone to exaggerated depictions, were delicately drawn. Not a movement or a moment of Bragha's dance was harshness. As for the singing, whether a Behag, or aMohanam, or Begade or Shahana, it created ripples of pleasure.
The light relief came in the Javali in Kapi, a composition by Poochi Srinivasa Iyengar in which the divine nayika tries to dodge the ardour and advances of her husband, the Lord. She pleads that he curbs his impetuosity till the privacy of darkness can be availed of for the whole world was watching now in daylight.
In simplicity and effectiveness, the Tillana in Simhendramadhyamam provided yet another fine example. It was a lesson to all young dancers present to see that the dancer's reference, even during the thanksgiving at the finish, was to "we" (carrying the musicians with her). The word "I" did not exist.
This critic prays that the harsh world where everything is glamourised to its detriment, does not in any manner spoil the innocence of Bragha's art. Her Bharatanatyam is a jewel to be treasured.
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