Nuances of dance displayed
SANGEETA ESWARAN is well-known as an intelligent, talented dancer with a fine blend of skill and enthusiasm for both the theoretical and practical aspects of performing arts, not only relating to Bharatanatyam but also to cultures of the world at large. Sangeeta's dance recital at Kartik Fine Arts, was heart-warmingIn about 90 minutes, Sangeeta gave ample proof of her deep understanding of the nuances of Nritta and Abhinaya, as taught by her teachers Savitri Jagannatha Rao , C.V.Chandrasekhar and Kalanidhi Narayanan.
Beginning with an invocatory piece, Sangeeta established a perfect rapport with her orchestra and the audience. The not-often-seen varnam of K. N. Dandayudhapani Pillai, "Maa Moham" in enchanting Natakurinji was presented with vibrance, grace and beauty. Especially the hand delineations of Sangeeta were smooth, creating a tranquil atmosphere. Excellent support came from Savitri Jagannatha Rao (nattuvangam), Hariprasad (vocal), Anil Kumar (mridangam) and Vijayaraghavan (violin).
Although Sangeeta sailed smoothly through the execution of the technical aspects, she did not concentrate much on the basic requisites like the posture. The concept of Arai Mandi in Bharatanatyam seems to be almost extinct nowadays.
Sangeeta's handling of the "Padam Vadaraka Pove," was yet another lively portrayal of the disappointed heroine who becomes indifferent to her lover and tells her friend that she is no more the same love-lorn Nayika. However, the description of "that period (Adiyoka)," denoted by the Nayika in a reminiscent moment, could have been more elaborate and powerfully conveyed. The concluding Tillana was crisp.
Bright
At this same venue of Kartik Fine Arts, Lavanya, Saikrupa and Suhasini, disciples of C. V. Chandrasekhar, gave a bright performance accompanied by Manjari (nattuvangam), Hariprasad (vocal), Sekhar (mridangam) and Vijayaraghavan (violin). The first part of the recital featured the well-known Varnam "Naadanai Azhaithu" during which the three young dancers, revealed considerable talent and training. While all of them showed good grip over aspects of pure dance, more care to resort to a perfect araimandi, and firm footwork would have enhanced their performance.
In their individual roles, each one had certain merit on their own. More performing opportunities would refine these dancers to better artistes. While Lavanya has a natural flair for abhinaya, Suhasini used her mobile face for graceful communication of ideas and Saikrupa expressed care while executing her segments.
In the second part of the programme, the dancers chose to present the nine sentiments through the songs of Bharatiyar (Navarasa Bharatai). Sringaram - "Vennilavu Nee Enakku," where Lavanya and Saikrupa depicted the pair of lovers, and Hasyam - "Koolikku Velai," in which Suhasini as the servant and Lavanya as the landlady, presented an interesting interpretation of the poet's words on the daily travails of the housewife and the tales of woe of the servant were striking.
NANDINI RAMANI
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