As every ant conjures up all the force within it to slowly collect every tiny piece of sugar, so did Guru Anandavalli showcase her cause. Her cause that every muscle memory, angle and movement exhibited in uncrowded formations is exquisite, neat, timely and most of all theatrical.
Guru Anandavalli, is not someone one takes lightly. Every thing about her breathes serious commitment . For a more faint hearted, the journey of completing twenty five years in the field of Indian Classical dance in Australia would have been a path long left by the wayside.
Faced with the pressures of practicing and teaching traditional classical dance in Australia, Guru Anandavalli has nurtured and taught her students and helped create a heritage, to protect and preserve the ancient artforms of Bharathanatyam and Kuchipudi in Australia through her School of Dance, the Lingalayam.
Lingalayam presented a two day bonanza at the Parramatta Riverside on the 7 and 8 September 2012 show casing its students whose body bending foot tapping challenges enthralled audiences. To the live vocals of Aruna Parthiban accompanied by the exquisite flute of Ramani Thiagarajan, the rhythmic precision of Janakan Suthanthiraraj and Kranth Mudigonda’s pleading violin, the show commenced with the well known composition of Sreeman Narayana in Ragam Bowli.
As Garuda surrenders himself to the very tasteful backdrop of Lord Venkatagiri, depicted in a visual footage the dance moved to the coming of the palanquin beautifully choreographed with wonderful classy costumes. The feet that once danced on the head of Kalinga beautifully presented and the loving grace of Alamelumanga, as she woes the Lord with her toe rings and anklets, the show started to draw the audience into the world of Annamayya.
The chemistry on stage charged up with the coming of little playful Krishna who tames the Kalinga, and carries the Govardhana upon his little finger. The sculpturistic poses, the formations, the creative jathis livened the stage and the essence of childhood mirth spilled over and into the hearts of all in the audience.
As the passionate union of Alamelu Manga and the Lord were conveyed so sensuously, the audience in yet again enveloped in another mood in Palukuthenela, the mother’s lullaby in Jo Atchuthananda, followed with the cheeky flirting of Alamelu Manga with her Lord keeping the feet thumping interest of the audience.
The compositions of Hari Ninnu Pilichini portrayed Alamelu manga as she dwells on the beauty of the Lord, attracted to him like a cupid’s arrow, his beauty overshadows even the perfect lotus bloom.
The next day the performance commenced with Parama Purusha, describing the Lord in all his glory followed by Narayanate Namo which touched on various stories of the Lord. The choreography and once again the formations in this piece were eye catching. The programme continued to depict the stories of Ramayana to Annamayya flirtish imagination of the Lord with both his consorts and the love between the divine couple, to the Lord being depicted as the mischievious Krishna to Annamayya’s deep concern for social justice.
This two day bonanza was not a casually put together event of sorts. The production spilled generously with some of the senior dance students showing all the makings of any professional dancer, whilst others showed great promise. All in all two wonderful evenings when the audience got the opportunity to enter the world of the Great Poet Annamayya.