Author: Dr.Shobha Shashikumar, Professor, Jain University, Bengaluru.
Guru Kalanidhi Narayan’s approach towards Vakhyartha abhinaya is exemplary. The extended meaning of line in the padam or javali is beautifully cognized and inserted with appropriate minimum hastas into the line of the song in just one cycle. The most surprising part is that, neither the conception of the vakhyartha or the hastas gesticulated become overloaded. They are just pleasantly fitted.
Many today who try to do vakyarth abhinaya, fail to understand this. A big range of concept with a plethora of hastas are made congested in an avarta of sahitya. It thus becomes more a memory game than shades of vyabhichari bhavas that are supposed to parade to add to the literal meaning of the song. We need to understand mami’s sensitivities and sensibilities in handling this concept effectively.
Mami’s understanding of delinetation of Shringara rasa is commendable as stands as a guiding canon for generations to come. She would clearly place a sadharana nayika in aesthetic frame. The so called vulgar themes would find appropriate treatment in her hands, as she believed evrything has a place in art if treated properly.