Alarippu, with which most Bharatanatyam performances begin, showcases the dancers command over the physicality of the form with emphasis on adavu patterns, geometric lines and footwork prowess. Sudharma, who danced at this sabha began her show with a Chaturasra Alarippu. Clear mudras, combined with grace, perfectly chiselled mandi adavus and leisurely pace with which it was danced, revealed the talent of this young dancer and it marked a vibrant start to the evening’s repertoire.
Moving on to the Thanjavur quartet, Khamas raga Varnam ‘Samiyai Azhaithodivadi,’ immediately, the narrative of the pining nayika beseeching her sakhi to fetch her Lord Sundareshwara of Madurai, was delineated by Sudharma with competence. She maintained the sthyai bhava throught out the varnam and the clarity with which she differentiated between the heroine and sakhi ‘s portrayal was commendable.
The stance that she took while speaking of the greatness of her lord, the detailed description of the Meenakshi temple and its decorations, the visualisation of Siva’s form, the nuances while depicting the bees fluttering around the lotus were some of the beautiful sancharis the dancer showed. She should now focus on further enhancing her abhinaya skills to move on to the next level.
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The Jayadevar Ashtapadi ‘Pashyati Dishi Dishi,’ tuned by Hariprasad, brought out the finesse in the dancer’s abhinaya. The sakhi’s description of the nayika’s distress, the transformation of the heroine’s mood when she reminices about happier times while adorning herself in front of the mirror, with details of breaking a branch to use as a flute, and imagining a peacock feather on her hair, was portrayed with expertise.
A lively Swati Tirunal Dhanashri thillana marked by vibrant footwork and linear movements was the finale of the performance. Guru A. Lakshman conducted the recital. Binu Venugopal, with a melodious voice provided competent vocal support, accompanied by Rijesh on the violin, Shashidaran on the flute and Nellai Kannan on the mridangam.