Whatever be the dance form, classicality is established through certain pivotal features – the most primary being the taal (beat). Absolute adherence to taal lifts the dance to a new high. The stress on taal is more so these days as somewhere down the line, the taal slips at some point in many a performance.
Shivangee Vikram’s Bharatanatyam recital was marked by precision to taal, laya, posture and satvika abhinaya (all mandatory). She presented the ‘margam’ (traditional stage) repertoire on the theme of ‘Hari Hara’. Her opening alarippu was tousled with welcome ritual in keeping with its title ‘aahvaanam’ (aavahanam would be a better term considering its all about deities).
This piece was so perfectly executed, underlining her prowess with her medium. The rest of the pieces that were to follow were unique in their exposition, especially the Ganesh invocation which was the establishment of ‘yantra’ and the Narsinh Mehta’s Gujarati song/poem that elucidated the ashtavidha nayika in a crisp but effective abhinaya and nritya. It was the highlight of the evening.
The Varnam ‘Mohamaye..’ (Tanjore quartet), a very popular piece was given its due in Shivangee’s interpretation. The Bhairavi flowed eloquent in the vocalist’s rich voice streaked with emotion wherever necessary. Her tri-kala execution of footwork was marked by its clarity of expression.
Deft presentation
Her varied abhinaya as the sangathee (refrain) poured forth . The display of suffused passion of the heroine who is besotted with lord Shiva’s idol as the processional deity is taken through the street in front of her home was brought out beautifully. Her teermanam were unique too. The introduction of Mallari was a piece of thoughtful artistry. Her nritta to swar was marked by graceful rigidity going by the linearity of this art form. The lengthy song had its highlights too, for instance, the abhinaya to the line, ‘maaran...’where she emulates the agony caused by the Cupid’s striking arrows with emotive balance.
If the Varnam eulogised the ‘Hara’ aspect, the Dashavatar that followed was in praise of the sustainer ‘Hari’ and the underlined theory of evolution.
What was noticeable and appreciable here was the interspersing of each avatar with the churning of the mighty milky ocean. The Prahalad episode came in for extensive exposition of the Narsimh avatar.
The Ashtavidha nayika was a brilliant piece of poetry and abhinaya . Her Khandita nayika expression was the best among the eight. The Soundarya Lahari verse (Shive shringaradhra...) on Devi’s nine moods (Navarasa) was an apt choice after the nayika piece. The Tillana in Sivaranjani was compelling with her shikara mudra nritta at the beginning and made for a lilting wrap up.
The theme, however, did not live up to the title in full because of the framework (margam) the artiste chose to present. So after the aahvanam and Ganesh formulation, the dancer could have taken the theme a little forward with tantra and mantra and made it a wholesome affair.
The solo presentation was hosted at New Delhi’s India Habitat Centre.
