Keeping Lakshmi Vishwanathan’s artistic heritage alive

Lakshmi Vishwanathan during a lecture performance on acting in Kalashatra in Chennai. , Photo Credit: KV Srinivasan

Some artists have the ability to bring that additional spark into conversation. Lakshmi Vishwanathan was one. A great dancer, scholar and writer whose tongue-in-lamps and humor’s spirit inspired him to many people, from the stage.

To celebrate her memory, Lakshmi’s sister Sujaya Menon recently organized a ‘woven word’, one evening conversation and acting session. The show was anchored and presented by Priya Kakkar and Madhumati.

Pavera Lingadra

Kiran Rao was in tune with a garland picture at the entrance of a simple floral setting on the stage, with the taste of the beauty Lakshmi.

The program began with a prayer by Yabhi Gith, after which three speakers shared their insight on Lakshmi’s art and life. Jeetendra Hirsfeld, a colleague on a long -time colleague and later on his research work, spoke about Lakshmi’s scholarship and artistic journey. A small video clipping of his teaching method was shown.

Jayanathi Subramaniam performed a Kshatra Padam

The dancer Sharadhara Narayanan shared his personal experiences with Lakshmi as a friend and an artist. Lakshmi was known for her performance, and the results Vaidyanthan spoke a beautiful talk on the nuances of the actual. Then he demonstrated the four methods in which a dancer could contact the same line.

Vaishnavi Srinivasan and Needita Harish demonstrated Husani Swarajati ‘Ameniraira’

The dancing session was appropriately began with the Himani Swarajathi ‘Imyaladira’ that Lakshmi taught two young dancers Vaishnavi Srinivasan and Neviti Harish, Rosa Kannan disciples. The edited version gave a glimpse of Yor’s Natyam that Lakshmi was so fond of – she also designed costumes to reflect that period. Vaishnavi and Needita were impressive, both Narata and Abhinaya were in segments.

Unreleced slave

‘Theruvil Varano’ was presented by Pranati Ramjurai, a Padam composed by Muthu Thandwar, who brings out the feelings of a lovely heroine. Innovation of accounting Prasad was depicting a bird in innumerable methods and then interacting with it in Kajoling and ‘Pingili Vannan’ in Tilang.

Jayant Subramaniam was in the Kshatra Padam ‘Valapudasa’, showing his ability to convey a series of emotions through Mukhbinia. It was a mature illustration because he danced with leisurely tricks, a suitable dedication to Lakshmi.

Lakha Prasad

Emotional unrest, which experiences Radha is the essence of Ashtapadi ‘Nindati Chandana’ and Pavera Lingendra.

The evening was concluded in the evening with the Kuchipudi singing of the Kalyani raga composition of Sarangpani by Avizit Das, the only male dancer of the evening. The plaque hair was thrown back, Krishna’s non -exhibited and Little dissolved her presentation in body movements.

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