RUPA SRIKANTH

The steps were presented with such confidence that made even the rigorous ones seem like an effortless exercise.

Aarti Mohan, a disciple of Revathi Ramachandran, is a design engineer, settled in Bangalore. She is a proficient dancer with a good sense of time and rhythm. There is a delicacy in her manner, much like a porcelain doll and dressed in a rich emerald green and mustard costume, she looked like one too. Aarti's dance style is enhanced by her bright and eloquent eyes. She paints a pretty picture, but she has to decide if she wants to reach beyond the realm of beauty in future.Without the guiding hand of the guru, Aarti's orchestra that evening was a let down for the dancer as well as for the viewer. An unwell Sashidharan (vocal) and an unsure N.K.Shyamsundar (nattuvangam) depended heavily on Kalaiarasan (violin) and N.K.Kesavan (mridangam). It was the mridangam vidwan who anchored the rudderless group.It was to Aarti's credit that she went about her performance quite unperturbed. The Kapali Pancharatna kriti in Nattai (Adi), a composition of Rukmini Ramani, showcased the dancer's fluent nritta. The steps were presented with self-confidence that made even the rigorous ones seem like an effortless exercise. While the thattu mettu sequences were particularly effective, the footwork in general can do with more azutham. The dancer can also be aware that a better posture will help avoid the frontal bend of the knee. The sancharis presenting the Mylai Karpagambal story and the Siva Thandava scene with Brahma and Vishnu providing the percussion were well portrayed. Aarti was at home sketching Krishna's leelas in `Muddugare Yashoda' as she was playing an angry heroine in the javali, `Entati kuluke.' Of the many, the portrayals of Rukmini Kalyanam and Govardhana Giridhari were especially eye catching. Aarti and Kesavan complimented each other well in the concluding Kapi (Adi) thillana, the beats on the mridangam echoing faithfully in the dancer's bells.