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Control over nritta and abhinaya

Photos: K.Ananthan.

Well-balanced presentation: Swetha Anand and Shruthi Anand

A Diaphanous nalinam marked the opening Bharatanatyam dance recital of Shruthi and Swetha Anand (disciples of Amudha Dhandapani) on the inaugural day of the September season of music and dance under the aegis of Rajalakshmi Fine Arts at the Mani High School, Coimbatore. Their touching gentleness in the invocatory item of offering flowers to the Cosmic Dancer was appealing.

Divyatha Arun

The beautiful varnam in Sankarabharanam composed by Dandayuthapani Pillai was done with quiet pride and good control over their hand and foot movements while explicating the heroine’s pangs of separation from Lord Tirumal. The expression on their faces towards a child in the following padam ‘Chinnanchirukiliye’ symbolised an involvement that excelled mere performance. In sum, the well-balanced presentation in terms of nritta and abhinaya content had wide acclaim. They shone well with rhythmic movements and sculpturesque poses in the crisp Lalgudi thillana in Mohanakalyani at the end. Amudha Dandapani complimented the dance with her Nattuvangam. Anil Kumar’s singing was full of expression and he was supported by Rajamani on the violin and Venkatesh on the mridangam.

‘Maragatha Vadive,’ a harmonious synthesis of music, dance and aesthetics, characterised the Bharatanatyam recital of Divyatha Arun, a disciple of K.J.Sarasa. Divyatha’s thematic presentation on Goddess Meenakshi drawn from the classical repertoire began with a Pushpanjali in Vaasanthi but there was neither a guru vandana nor devotional offering of flowers to Lord Nataraja on the stage by the artist. An expressive dancer, Divyatha’s interpretative skill in portraying the attributes of the Goddess flowed smoothly with the pace of the viruttam. The highlight of the programme was the Lalgudi varnam in Ragamalika, ‘Angayarkanni.’ With the soulful singing of Girija Ramaswami, the artist was in total control to give the exact depiction of the nava rasas found on Devi’s countenance. The padam on the divine wedding of the Goddess was executed with Divyatha’s lithe arm and foot movements giving a fine sweep to her adavus. Her neat and meticulous nritta will enable her to become a refined performer in future. Her clarity of footwork at high speeds was because of her strong foundation in the basics. Divyatha was accompanied by K.J.Sarasa on the Nattuvangam. Vocal support was extended by Girija Ramaswami supported by Sreenivasan on the violin and Sakthivel on the mridangam.

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