Talent, energy and enthusiasm

RUPA SRIKANTH

Bhavya combined aptitude and industry, Shanmughasundaram's movements were precise and dignified and Sattvika's nritta sparkled.

YOUNG AND CONFIDENT: Bhavya

By dint of her excellence, Bhavya Balasubramanian qualifies as a torchbearer for a breed of bright, young dancers who tackle so easily the influence of the World Wide Web even while facing the challenges of engaging in traditional art forms. This ability is even more inspiring because there is no conflict in the choices.

Bhavya, a disciple of Srekala Bharath, dancing for Kartik Fine Arts, was a delight to watch. She is an exceptional combination of aptitude and industry, yet it is her focus that takes the attention. She also has the advantage of a striking presence, which is simply the icing on the cake.

Shanmughasundaram

The racy swarajathi, `Ma Mohalahiri Meerude,' written by Kadigai Namachivaaya Pulavar and composed in Khamas ragam, Rupaka talam by Subbarama Iyer, had a generous allotment of sancharis.

Bhavya portrayed the role of a lovelorn heroine with clarity, and with perhaps a little more enthusiasm than necessary occasionally. There is a need within her to excel, which she does, but this drive stands the danger of getting too intense. The lasya-laden teermanams were handled with energy and precision and showed a strong grounding of the basic grammar. The thattu-mettu segments were also impressive in the good timing and araimandi stances adopted.

Sathvika.

Srekala guided her student well through the nritta with the sensitive support of M. Dhananjayan on the mridangam.

For the Agathiyar keerthanai, `Sri Chakra Raja Simhasaneswari' Bhavya painted the canvas with strong strokes of the brush, filling it with the colours of devotion and wonder.

Chitrambari Krishnakumar (vocal), and V. Muruganandam (violin), comprised the melody component of the skilled orchestra.

INTERESTING TWIST

It is not often that one sees a portrayal of the Nandanar story from Lord Siva's angle where He reasons with Nandi about moving aside to allow the devotees easy vision. This interesting twist in Gopalakrishnakrishna Bharati's (Poorvikalyani) `Satre Vilagi Irum Pillai,' was a sample of guru K. J. Sarasa's innovative visualisation skills. It is these little details that make the difference between a good and a memorable programme.

It goes without saying that guru Sarasa's senior student, Shanmughasundaram, was able to convey the interpretation with sincerity and depth. The whole recital was in fact soaked in bhakti, with Girija Ramaswamy's soulful rendering and Muruganandam's sensitive bowing, contributing to the contemplative ambience.

Madurai N. Krishnan's padavarnam, `Engum Niraindha Paramporule' in Pantuvarali ragam, Adi talam, dedicated o Lord Narayana was a tightly woven piece of choreography alternating the narratives with cycles of intricate rhythm.

Shanmughasundaram's movements were precise and dignified and his timing was accurate, complementing guru Sarasa's firm nattuvangam. He was agile and flexible as well despite the constraints of the restricted stage-space. His araimandi and azhutham have to improve though. Viswanathan on the mridangam added beauty with his faultless drumming.

UNINHIBITED PORTRAYALS

Any dancer who can confidently handle such a mammoth choreography as the Kalyani ragam, Adi tala varnam, `Padhame Saranadainthen' composed by keyboard artist P.R.Venkatasubramanian in praise of Sri Rama, deserves appreciation. The dancer in question is Sathvika Shankar and the guru, Anita Guha.

Commencing confidently with a Natesa Kouthuvam, Sathvika proved her proficiency early on. She is painstaking in the execution of adavus and it translates into good footwork and high energy finishes. Lacing this heady concoction of skill is a good time sense that makes her nritta sparkle like champagne. The only drawback here is an incorrect posture that has the potential to destroy all the aforementioned good.

The varnam choreographed by Anita Guha contained numerous incidents from the Ramayana from the Bala Kandam until the Kishkindha Kandam and Sathvika's uninhibited portrayals suggested a good understanding of Hindu mythology. Especially memorable was the characterisation of the scheming Manthara. The corresponding theermanams were conducted with precision by the guru and performed with equal sincerity by the dancer. J.Padmanabhan on the mridangam provided admirable backing for these pure dance interludes.

A padam by Uthukadu Venkatasubbaier, `Neethan mechikolla vendum' in Sriranjani ragam, Adi talam, where Yashoda scoffs at the gopis provided a brief peek at Krishna and His pranks. Sathvika concluded with a melodious thillana in Mohana Kalyani ragam, Adi talam by Lalgudi Jayaraman. Though the musicians, B. Ramesh, flute and Muruganandam, violin provided consistent melody, the vocal department handled by Devi Kamakshi and Anita Guha was not satisfactory. In fact this was the only big disappointment of the evening.

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