It had all the elements crucial to a classical Bharatanatyam recital- inlay of nritta with complex patterns, natya wherein the interpretation to lyric is enhanced by mukhabhinay (facial expression) , hasthabhinay (gesticulations through mudras) and above all emoting through eyes with grace of movement not losing out on verve and vigour. Danseuse Swetha Venkatesh from Bangalore qualified the criteria with an added asset-beauty which stole the show. She performed at the India Habitat Centre, New Delhi.
Taking up the tough Dikshitar kriti in Kedara raga on lord of Chidambaram, the dancing deity Nataraja, the artiste established her credentials within the first fifteen minutes of taking to the stage. Expounding the iconography of lord Shiva as the cosmic dancer through varied mudra she moved with alert intensity from one stance to another to this daru kriti ‘Ananda natana prakasham...’. There was no duplication or repetition of footwork not only in this piece but through the entire recital. Every piece had its novel share of mnemonic patterns which was refreshing and worthy of appreciation. The element of sky (one of the Panchabhootha ) very imperative to this kriti was brought out subtly as the dancer meandered through the sahitya of this song. The five varied depictions of Sri Ram for the Mohana raga based ‘Ra ra rajeeva lochana Rama...’ (a Mysore Vasudevacharya composition), the rhapsodic footwork to the chittaiswara and the quick narration of the pivotal episodes of Ramayana through mime made this a memorable piece. As if these two challenging songs were just the icing on the cake, Swetha launched into the proving ground of the Varnam, a Mangalampalli’s composition on mother goddess (Amma ananda dayini) with beejakshar in Gambheera Nata raga. Her nritta to the most manifold sollukattu in all the three cycles of speed was excellent without having to sacrifice aesthetics. The artiste was able to manouevre the toughest of footwork patterns with ease and elegance. At the point of elucidating the ‘pranava nada’ (Om) she could have remained in the stance for a few more seconds to allow the sound and the effect to peter down to the audience. The flighty dance to the refrain ‘Shive, Shive...’ with lovely facial expressions was very impressive.
The Devaranama and the following Javali showcased Shweta’s emotional quotient in two aspects -bhakti and shringara. The dancer was convincing in the Vatsalya bhava while enacting the prankster Krishna with the doting Yasoda and the saint-composer’s utter devotion in “Baro Krishnayya...”. The choice of games to the child Krishna and his refusal to comply was brought out with finesse. She excelled in the romantic Javali where the heroine pleads with her beloved not to leave her and go. The enticing, entreating, ecstatic flow of emotion as Shweta moved from one feeling to another was enacted within the bounds of romance and not eroticism. The gait of the nayaka who wants to walk out and that of the nayika who cajoles him into her chamber was markedly beautiful. The feeling of contented passion was handled with clarity without breaching the line of decency. The tillana as finale was a joy.
