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Cascade of thumris
VIDYA RAO'S identification with thumri was complete when she took up this stylistic form for rendition for the Amir Khusro Sangeet Academy on September 3. Derived from `Thumak' the coquettish gait, it is codified as the sung from now. Vidya delineated the "Bol Banao Thumri" with expansiveness - with gestures of dance. She began her recital in Mishra Kamaj in Deepchandi of 14 beats pouring out the adoration of Radha on Radha-Ashtami praying to remove the obstacles of existence. Vidya spoke extensively on thumri as a metaphor for the lives of women who through this medium subvert the oppressive dogmas that confront them and thus through irony and humour explore other kinds of spaces.
In the dadra, a fast-paced piece in Mishrapiloo, Vidya took Madhyam as the tonic in dadra taal. In the two pieces one noticed the texturing of her voice which brought into play many voices.
Vidya explored the various jagah's the musical spaces to her advantage. For instance, her riyaz has helped her arrive not only at technical perfection but has made her develop the musical space (the jagah) for poetry, bol, body movement and for bhav.
To the jagah of swara and laya, she has added many possibilities in terms of gestures and mudras of the eyes to create new meanings so that the `shabda-pradhan thumris' do not lack lyricism.
The Kabir bhajan "Yeh tan that tamboore ka" draws a parallel between the body and the tanpura, an amalgamation of five elements and nine minerals. Using folk style and open notes Vidya advocated humility as against arrogance, as the strings which resound the name of God will eventually snap.
Rajesh on the table and Janaki Rajagopalan on the harmonium provided good support.
JYOTI NAIR BELLIAPPA
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