Dance can be a confluence of mind, body and spirit.

Very different from the usual performance paraphernalia was the recent lecture-demonstration by Kanaka Sudhakar at the IIC, focussing on the therapeutic spin-offs accruing from Bharatanatyam. The dance as an enriching confluence of mind, physical body and spirit was deftly brought out through snippets of nritta, nritya and natya, the presentation arrangement deserving plaudits. If angasuddhi led to optimum breathing and the muzhumandi enabled a straight back, the anga bhedas created well being through gross and fine motor movements, with the symmetry of Bharatanatyam exercising every part of the body harmoniously.

Tiny tots executing adavu movements revealed how “neuro maturational” delays and “finger agnosia” are cured. The acupressure in the floor striking with the sole of the food, with korvais and teermanams forming a neuromuscular diet helped better sequential perception of the brain. An “aerobic state” is attained in the movements/pauses pattern of a tillana. Disciples Arya and Sadhavi performed todayamangalam excerpts, demonstrating how constant, simultaneous working of cells activates otherwise dormant parts of the brain. Aparajita Sharma’s presentation of the Nattakuranji varnam excerpt “Tamadam seyyada vandarul” with an episode from Nandanar Charitram highlighted the narrative dramatic element. Vipanchi s fine interpretation of the Sindhu Bhairvai Meera bhajan stressed how bhakti helped build internalised quietude.

Arya Ramesh and Sandhvi dancing the Lingashtakam recitation were delightful. More of the unusual yogic aerobics based on the classical movement vocabulary could have been demonstrated instead of the “Netrandinerattile” padam by Aparajita, which after “Aduvum Solluval” was self indulgent adding little to what had already been shown.

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