The symbolism of Shiva

Uma Ramesh chose to highlight both bhakti and beauty

Vt was a thematic margam and the chosen deity for the evening was the lord of dance Shiva. Uma Ramesh, in her performance for Brahma Gana Sabha, chose to make this thematic presentation more meaningful by conceptualising a recital that moved from the physical to a philosophical state.

The introduction to Shiva began with a brisk Mallari in raga Gambhira Nattai and a padigam by Karaikal Ammaiyar in Kalyani. This padigam eulogises the dance

Iivek Moozhikulam presented a spirited

Carnatic vocal concert under the auspices of Mangaluru’s Sangeetha Parishad, in association with Karnataka Government’s Department of Kannada and Culture, and Bharatiya Vidya Bhavan, Mangaluru. This is the Parishad’s 30th anniversary (Thrimshath Sambhrama) and it has been organising monthly concerts featuring both young and established artistes.

Endowed with a majestic voice, Vivek began with the Saveri varnam, ‘Sarasooda ninne’ by Patnam Subramania Iyer and quickly moved on to ‘Swaminatha paripaalaya aashu mam’ in Nattai by Muthuswami Dikshitar. He presented Papanasam Sivan’s masterpiece ‘Kaa vaa vaa’ in Varali with impeccable diction. Saint Tyagaraja’s compositions monopolised his concert.

His delineation of Saramathi was full of fresh phrases, and, as expected, he presented

‘Mokshamu galada’. As a contrast, ‘Shobillu saptaswara’, in praise of the seven notes, followed briskly in Jaganmohini.

The central piece was ‘Raksha of the lord of Thiruvalangadu kshetram, where he dances inspired by the sounds of the saptaswaras and musical instruments. Uma’s choreography of the physical structure of the temple in the Mallari began with a description of the temple pond filled with lotus, and the architectural details, the shrines of Vinayaka and Murugan, and the grand procession of the deity on his vahana.

Then, there was a transition from the descriptive mode to an emotional state of love, with a nayika asking her confidante to go and fetch the lord, whose absence is making her heart feel heavy. ‘Samiyai azhathodi va’, a Thanjavur Quartet varnam in Khamas, offered a fine display of meaningful sancharis and nritta patterns.