Exemplifying a Trademark Repertory

Renowned dancer Leela Samson’s performance for Krishna Gana Sabha yet again testified for the richness of her dance vocabulary

Published: 08th January 2014 10:00 AM  |   Last Updated: 08th January 2014 10:00 AM   |  A+A-

It is well known that Leela Samson, former director of Kalakshetra and  a well-known dancer, has established her own dance grammar over the years. Her recent performance for the Krishna Gana Sabha combined harmony and lilting music.

The programme commenced with a  rigveda sloka  that described the primordial  sacrifice of the purusha in order to create the Vedas. It spoke of sacrifice of the  classes of men and the cosmic  elements with a composition of Madhup Mudgal in  raga  lalith pancham, with a  rapturous  rendition.

The swarajati in raga huseni (rupaka tala) with a composition of Melattur Venkatarama Sastri  revealed the nritta aspects. The nayika asks Lord Renganatha, ‘Which woman has filled your ears with gossip that you do not care for my devotion to you.’

The presentation certainly had a nonchalant execution, revealing her involvement and commitment to the art form. The significance of the Dikshitar’s ganga mam  paahi in raga janjhuti (khanda eka tala), seeking the protection of Ganga the river, was  brought out  in  perfect symphony, harmoniously blending the rasa and bhava.  

The final vibhakti, a javali of Dharmapuri Subbaraya Iyer in raga paras, in which a nayika tells her sakhi about her angst when the nayaka doesn’t turn up, had the audience virtually experiencing the emotions.    

 On the whole, the tones used were classic as they provided an appropriate canvas intellectually and visually stimulating for the rasikas to appreciate the ennobling fundamental values.


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