CHENNAI: Indian classical dance form is blessed with an incredible freedom for each performer. Most Indian dancers are exploring new expressions, keeping faith in several new strands and at the same, not rejecting the old. These thoughts came to my mind, when I witnessed the dance performances by Leela Samson for The Music Academy. Both of them are eminent performers and sensitive interpreters of the nuances of the art form.
The fascinating part of it was that both of them took up padam or kshetragnya for presentation (payyada), in the Raga Nadanamakriya and Chanaro, the Khamas Raga Javali, composed by Ramanathapuram Srinivasa Iyengar. Their individualistic interpretations to interpret traditional vocabulary, reflected the purist resonance of the arts. Leela’s interpretation of Kumara Sambhavam of Kalidasa in Raga Bibhas, with the music composed by Madhup Mudgal, let all the ambivalence float and one wondered how she could be so versatile in the abhinaya while emphasising on the rhythm in various moments with apt expressions and lively steps.
She brought out the rasa in the thillana medley, with emotions and firm footwork. It was certainly a vision recaptured, in different ragas, as she made an impact on styles and techniques in this dance form. It was an encomium to the violin maestro late Lalgudi Jayaraman, whose thillana with rhythmic cadences was shown in ragas Revathi, Maduvanti and Kalyana Vasantham.
The all round response of the audience at The Music Academy, spoke of her quality as a refined artiste plumbing the inner depths of abhinaya. At the end of the programme, one factor became very clear — that quality, dedication and hard work are important factors to reckon with.
I am sure artiste Leela Samson needs to be emulated in the sanctity of the art form, which further needs to be preserved. Otherwise, this art form, which is meant for communication, will become loaded with commercialisation over a period of time.