Danseuse Malavika Sarukkai performed Bharatanatyam to a packed crowd in Kochi, in which she highlighted the finesse and lyrical expression of dance and abhinaya. As she kept time and the vocalist presented the Ganesha invocation, one realised that dance to Malavika goes beyond the stage.
In a ‘Pushpanjali,’ which began as an invocation to the Sun God, Malavika portrayed the Sun God in all his grandeur, riding his chariot pulled by seven horses. ‘Nrithanjali’ was a choreography that gave ample scope to space, stillness and vibrant moves. Once upon a time the dancer used to go beyond the structure of the margam. However, on this day, every item, except the central piece, followed the conventions of the format. She exquisitely assimilated the classicism and tradition of the Tanjore school and the aestheticism of Vazhvoor bani.
The central piece was presented in two segments, the first one being ‘Kamakreeda,’ which showed the arrival of the god of love, Kama, holding his sugarcane bow strung with bees. As Malavika went on to portray the origin of various musical notes from the flower arrows of Kama, she exquisitely sketched movements that mimicked the gait of animals and birds, like that of the majestic gait of the elephant when she represented nishada and the movement of a peacock corresponding to shadja. Desire was the motif of the next part as the whole of nature came alive with her expressions.
In the following segments, Malavika took passages from ‘Ritusamhara’ of Kalidasa to describe the awakening of desire during the spring season, culminating in an inflaming passion.
There were passages of pure nritta but these were kept minimal and abhinaya reigned throughout as the danseuse successfully portrayed the sensuousness of nature and beings. She transported the audience to a rich world of nature and its elements and their joyous interaction and play. The abhinaya flowed so spontaneously that it was like watching an intimate conversation unfold, effortless and natural. Thus she could bring alive this sensual world for the audience as she herself was immersed in it. The movements blended aesthetically with the music and poetry.
Seasoned mridangam player Sukhi contributed a lot to the piece, in which varying rhythmic patterns fused beautifully with the abhinaya.
The very traditional Poorvikalyani Javali ‘Neemataleni mayanura’ had a twist in the climax as the nayika shuts the door on her lover and starts tending her caged parrot, portraying the irony of her situation. Neat lines, geometry and symmetry, which are the hallmark of the dancer’s nritta, came alive in the Balamuralikrishna thillana in Brindavani.
The programme was organised by Dharani Society.
