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VIVID PORTRAYALS: (clockwise from top left) Padma Subramaniam, Dhananjayan and Anitha Shanmukhanathan, Alarmel Valli and Lakshmi Gopalaswami.

One of the most elegant dance couples in Bharatanatyam, the Dhananjayans opened their presentation with a ‘Deeparadhana.’ A ‘Nataraja anjali’ by their disciples Gopukiran, Venkatakrishnan and Shafeekudeen was followed by a Chaturasra alarippu. The ‘nrityopaharam’ (varnam) of the recital was excerpted from an older production of the Dhanajyanas.

Based on the concept of non-violence, the item was presented by Dhananjayan and Anitha Shanmukhanathan, a senior disciple. It portrays the dialogue between King Ashoka and his daughter Sanghamitra. ‘Vahadimalaya Sameere,’ an ashtapadi in Raga Mishrakapi, and the famous ‘Dikku theriyathe kaattil’ by Bharatheeyar in Ragamalika were performed by Shantha Dhananjayan. Both the portrayals were marked by grace and perfect timing.

‘Chaliye kunjan me,’ a solo presentation by Anitha Shanmukhanathan, was remarkable for its beautiful portrayal. ‘Bho Shambo’ by Gopukiran, Venkatakrishnan and Shafeekudeen was another highlight of the evening.

Actor and danseuse Lakshmi Gopalaswami’s Bharatanatyam solo navigated a Pushpanjali in Natta that was dedicated to Goddess Mookambika. A kautam in praise of Durga and Kali followed. Lakshmi breezed through the varnam ‘Aadi Sivane’ in praise of Lord Nataraja.

A composition of Dandayutha Pillai in Raga Thodi was a journey in aesthetics and the jatis were executed with precision. The jatis were composed by Lakshmi’s late guru Narmada and the abhinaya sequences were choreographed by Lakshmi herself.

The abhinaya piece in Raga Behag, depicting Kuchela’s meeting with Krishna after many years, was brought to life by Lakshmi’s exceptional skill in abhinaya. She closed with a lilting thillana in Raga Brindavan Sarangi, a composition of Balamuralikrishna.

Alarmel Valli’s Bharatanatyam recital demonstrated her enviable mastery over nritta, nritya and abhinaya. The opening number ‘Adityaya namastubyam’ was an invocation to the sun. Valli then moved on to a varnam in Sankarabharanam set to Adi talam that she had adapted from Telugu. It deals with a devotee’s ardent wish to join her beloved Lord Krishna and her conversation with her sakhi.

‘Yaarukkaagilum Bhayama,’ a padam in Raga Begada set to mishrachapu talam, and an item in Pillai Tamil ‘Kanthi Amman’ in Ragamalika were presented as homage to the late T. Mukta, from whom Valli started learning music. She concluded with ‘Nrittalahari,’ which was composed by Prema Ramamurthy, her vocalist.

Sharmila Mukherji and group began their Odissi repertoire with a Mangalacharan in Mishrakamboj that was followed by a traditional dance number ‘Bhattu’ in Raga Mohanam set to Ektali. Dedicated to Lord Shiva, the item showcased the techniques of Odissi.

The abhinaya piece ‘Sakhi he kesi mudaro’ performed by Sharmila was the highlight of the recital. The other numbers were a Saveri pallvi and abhinaya piece on Lord Vishnu. ‘Moksha, another dance number, provided the fitting finale of the recital that described the dancer’s attempts to attain liberation through dance.

The festival concluded with a ‘Bharathanrityam’ by Padma Subramaniam and her disciple Gayatri Kannan. The invocatory piece was ‘Siddivinayakam’ in praise of Vinayaka, a composition of Muthaya Bhagavathar in Mohanakalyani, which was followed by a Jatiswaram by the guru and the disciple, providing Nattuvangam for each other.

The varnam based on the Hindi lyrics of Meera bhajan, composed by Dr. Padma in Raga Abhogi, was a recreation of Meera’s longing for Lord Krishna. ‘Kalyanarama’, a solo by Dr.Gayathri, was appealing as it highlighted Gayathri’s remarkable strength as a performer. The best piece was ‘Dasavatharam’ from Jayadeva’s Ashtapadi, which unfolded the 10 reincarnations of Vishnu.

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