Enchanting tapestry
RUPA SRIKANTH
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Srinidhi is a dancer who enjoys her art and this enthusiasm communicates itself to the audience.
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FLUID GRACE: Srinidhi Chidambaram. PHOTO: R. RAGU
A trimmer Srinidhi Chidambaram explored the depth of Tamil poetry with her latest presentation, ``Kaviya Tamizh," through the items of Bharatanatyam margam. The cohesive presentation had been woven together comprehensively, creating a tapestry of music, rhythm and word. Srinidhi's dance style has a softness and a fluid grace that is quite enchanting. She is a dancer who enjoys her art and this enthusiasm communicates itself to the audience. Her sense of timing is commendable, as is her facility of expression. Having been in the dance field for so long there is also the maturity of experience.
The most thought provoking that evening was a contemporary poem ``Yashodara" by Vairamuthu that looked at the story of Gautama Buddha from Yashodara's point of view. Full of pathos, the poem brought to life the conflicts within Siddhartha as well as the hopelessness of Yashodara's situation. Srinidhi did justice to both the protagonists, but greater emphasis was naturally on the wronged heroine. This work was tuned by Swamimalai S. K. Suresh in raagamalika, who also sang it with precision.
Srinidhi's histrionic talents were best showcased in the excerpt from the epic ``Silappadikaram" where a devotee questions the paradoxes in Lord Vishnu's conduct. The composition in raagamalika covered a whole gamut of incidents across many incarnations. The dancer documented each in detail, with due regard to the nature of the character and the context of reference.
The tried and tested choreography of Swamimalai S. K. Rajarathnam Pillai in ``Kannan Mananilayai" the raagamalika, Adi talam varnam by Subramanya Bharathi proved to be a lively composition of crisp nritta passages interspersed with the words of an usually liberated woman who is not cowed down by Krishna's indifference. Srinidhi kept the vigour of the composition going with unflagging energy. Her footwork was good for the most part.
Attention, however, should be paid to exploring the arm movements to their fullest extent and to stiffer elbows. Radha Badri, vocal, was consistent in her melody. She was well supported by the expertise of Shashidharan, flute, and Muruganandam, violin. Suresh was always in control with the cymbals, as was Nellai Kannan on the mridangam. The concluding Thillana, composed by Rajasekhar and Radha Badri in raagamalika, Adi taalam, incorporated Periyazhwar's verses into an innovative work of dance and devotion.
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