Making a measured entry with Shiva Spanda built round verses from Rudra Chamakam, Shiva Tandava Stotram and Nirvana Shatakam, Navia Natarajan in her performance showed herself to be an evolving dancer.
The accompanying sahitya comprising sonorous recitative chants, kavuthuvam-type passages and segments set to raga in varying tones, was expressed through dance movements . However, more introspection on the work will ensure the same intensity from start to finish, instead of an ending that seemed tame.
The intertwined sacred/sensual tone of the sringara nayika in the signature Bhairavi varnam of the Tanjore Quartet, ‘Mohamana en meedhu’ in Navia’s interpretation, showed dignity, with no simpering coyness, as the heroine offers herself body and soul to her beloved Lord Tyagesa. In a short prelude to the varnam catching the bemused state of one in love, phrases like ‘tannai marandal’ (forget oneself) were tellingly communicated. Do not feign indifference, to one overwhelmed with love for you, the nayika entreats. The musical statement ‘Bhoga Tyagesa anubhogam seyya vaa’ in a potent interpretation, communicated the complete transcendence of body, mind and soul in that ultimate oneness of sambhoga sringara.
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Frills of nritta were avoided with punch resting solely on the dancer’s confidently rendered teermanams with Venkatakrishnan Mahalaingam’s nattuvangam and Vedakrishnan on the mridangam. G. Srikanth’s vocal support with Eashwar Ramakrishnan’s violin melody provided the right musical backdrop.
That Navia’s training under Bragha Bessel has not been in vain was revealed in the Kshetrayya padam ‘Elavaccitive sami’ in Navroj. Here the just-wed, strong-willed nayika, reluctant to join the bridegroom in the bedroom, is being counselled to abandon her ego and go to her husband in a spirit of total surrender. The tricky part in the abhinaya interpretation knitted the counselling given to the nayika as stated in each musical line, with the response of the obstinate heroine. While the intricacies of the advice and reaction, could have gone unnoticed by a section of the audience, not familiar with Telugu and the dance, Navia’s subtle attitudinal switching from advisor to nayika, was commendable.
Lalgudi G.Jayaraman’s thillana in Desh concluded the recital. The unflattering aharya was a let down, with the costume colour doing little for the dancer.
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