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And the fact that she can mesmerise the audience without sitting in araimandi which is a very athletic position (that one doesn’t expect from a lady of that age) speaks for her genius! I used to say that she will be able to captivate the audience even if she came on the stage with a stick!
What a brilliant legend and legacy! The legend and her protege sharing the time and space almost making it seem that her art is immortal! I see Mahati as Padma and Padma as Mahati, a rare juxtaposition of mountain of talent in one family! The lilting voice of Gayatri Kannan flowing through them recreating magic of her mother Shyamala Balakrishnan. Age or coils of time mean nothing to Padma just like kaliyas coils mean nothing to Krishna. Every gamaka, swara, artha and bhava flowing effortlessly like life breath from her dancing body. Words seem incapable of description leaving just the deeply meditative experience to savour. Truly blessed to witness this and experience it and many thanks to SPICMACAY for this unique program! 😊
Mam you are like amman Kamakshi Amman has come and dancing in your body at this age. Otherwise human can’t dance at this age. Mahaperiyava Sharanam.Only people who thinks that the skills talents artistically doing activities all by God and not just by a human they perform even after fifties or seventies etc. எல்லாம் அவன் செய்கிறான் என் உருவில் என்று சொன்னீர்கள் எத்தனை தன்னடக்கம். You are really great Mam. Mahaperiyava Sharanam. Hara Hara Shankara Jaya Jaya Shankara.
It is music smt Gayathri excellently supported by kumari ananthshree took us to different world.padukka s choreography there are no words in vocabulary to appreciate it. Shiva poojaku chingruchine siri siri muvva
Mam inda age I'll ippadi oru abinayam enral Romba aacharyamaga irukku. Krishna nee begane song kku ippadi oru abinatam yarume kanbithu parkkavillai. Opposite I'll krishnar therigirar mam 🙏🙏🙏🙏🙏
This is the same Padma Suppammal said Bharata Natyam came from Kashmir. She received chappal thrown at her on the stage in front of MGR during the World Tamil Conference in Tanjavoor. Tamil is anathema to her.
பழையன கழிதலும் புதியன புகுதலும் வழுவல கால வகையினானே.( நன்னூல்) பழயன கழிந்து புதியன புகவேண்டும். அதுவே இயற்கைக்கு ஏற்றது. லலித கலைகளுக்கும் இது பொருந்தும். முதியவர்கள் மேடையில் இருந்தது இறங்கினால் தான், இயைவர்களுக்குத் தங்கள் திறமையைக் காட்ட வாய்ப்புகள் கிடைக்கும். போதும் போதும் போதும் என்ற எண்ணம் உங்களுக்கு வராமல் போனாலும் எங்களுக்கு வந்து விட்டது. A popular quote says that, "It is wisdom to quit when one is at the height of one's glory."
Performing artists should know when to stop performing- it is a visual medium and they should not ride on their past glories. It was painful watching PS do the walk round the stage. Her gait and posture were screaming her age and she looked frightening with all that make up. She might have been a great artist once in her ERA- but artists of her vintage should know and have the grace to refuse performances.
Do you know that she composes practically all the music of her choreographies? She could even compose a varnam from a newspaper article! Improvising is rare amongst dancer who usually dance pre arranged movements and expressions. You don't even understand the extent of her knowledge and involvement. Sad for you that you were not able to feel what springs from within.
Dr. Padma's style is called Bharatanrityam that she reconstructed after decades of research on Bharata's Natyashastra and various temple sculptures. The style does not call for aramandalam and geometry like Bharatanatyam does... That combined with her advanced age, makes her nrtta just seem odd to anyone unaware of her work and legacy. You should check out "Karanaprakaranam", a DD documentary series which is available on RU-vid itself.
but look at her niece’s perfect aramandalam. can you say that her style does not require aramandalam? It is just more graceful than Basic Bharatanatyam, and most of the dancers are now Influenced by her research and incorporate some time even without knowing some of the karanas she has set in movement.
