Sangeetha Vasudevan’s performance was marked by graceful abhinaya and crisp footwork.
Lord Muruga was the centre of focus in the thematic presentation of Sangeetha Vasudevan for Kartik Fine Arts.
This disciple of Radha began on a vibrant note with a Subramanya Kavuthuvam, which painted the fine details of the physical form of Muruga on whom rests the theme of the pining heroine in the Kambhoji raga varnam, ‘Nadanai Azhaithu Vaadi,’ which followed soon after.
This varnam, a composition of Thiuveezhimalai Nataraja Sundaram Pillai, has been beautifully choreographed by guru Radha, maintaining a fine balance between nritta and abhinaya, the essential component of a varnam.
Establishing the sthayi bhava of a pining heroine pleading with her sakhi to go and fetch her lord, the varied sancharis such as the bee hovering around a flower, depiction of romantic feelings while preparing the bed of flowers, blushing at the thought of her romantic tryst with the lord, the pangs of separation struck by Manmatha’s arrow, and the pride of a father seen in Siva’s face when he receives the nadhopasana from his son Muruga, were beautiful moments.
The highpoint of abhinaya was seen in the use of graceful hand movements describing the curls of hair, the arched shapely eyebrows and lips, the dance of the earrings to the final image of the form holding the vel in his hands to the melodious rendering of the lines’ Azhagudaiyavan, Gunamudaiyavan by Nandini Anand.
The jathikorvais were the highlights of this varnam, wherein crisp footwork for jathis blended with the sahitya without sounding like kanakku interludes and added to this was the combination of languorous, graceful adavus - the hallmark of the Vazhuvoor baani adding to the appeal. Radha had added another creative dimension to it by incorporating little details of peacock movements, carrying of paal kudam, kavadi into the nritta pattern. The song ‘Kaa Va Vaa,’ in ragam Varali and a tillana in Thilang were the other compositions danced on this sojourn with Muruga.
Aesthetically attired, Sangeetha’s performance was a satisfying experience, and the dancer now needs to delve deeper into her art with a focus on abhinaya to carve an individual path for herself.
Radha wielding the cymbals was supported by Nandini Anand Sharma on the vocals, Vedakrishnan on mridangam and Kalaiarasan on violin.