A critic had recently pointed out that young dancers today are enterprising. They do multi-tasking — running organisations and juggling jobs with dance and performance tours. While their commitment to the art comes through in presentations, the challenges could end up with the dancers merely going through the motions and striking poses.
The only way they keep their act together is through a guru. This was proved by Aarti Mohan’s performance, which had the stamp of Revathi Ramachandran.
From BITS Pilani and IIM, to a full-time job, to co-founding Sattva and its sustainability models for NGOs have kept Aarti busy. Appearing solo on stage after a hiatus of nine years, her recent Bhaavaarpanam recital was a fine presentation. It included a Nachiyar Kavuthuvam, a varnam (‘Sami naan undan adimai’), and the piece, (‘Chinnanchiru kiliye’) ending with Shuddha Nrittam — a form that used to be a temple ritual.
Interestingly, this piece resounded to the beat of her rhythmic bells, the salangai, competing with the beat of the mridangam.
In the varnam, evocative details raised interest such as the nayika, after milking the cow, stopping in her tracks fascinated by the sight of Nataraja; the dancer nicely contrasted the nayika's flowing tresses to the awe-inspiring tresses of Siva, Markandeya being rescued from Yama by Siva; and the nayika standing mesmerised by Siva's Ananda Tandavam. Aarti brought grace to the nritta passages too.
In ‘Chinnanchiru kiliye,’ however, the josh was missing. The live orchestra was good.
