Artistic finesse and abhinaya characterised the inaugural dance recitals of Shanmugasundaram and Divyata Arun on the opening day of the September Season of Music held by Rajalakshmi Fine Arts, Coimbatore, in association with the club utsav of PSG Institute of Medical Sciences in its auditorium.
Trained by his dance guru, K.J. Sarasa in Bharatanatyam, the artist's thematic presentation of how real love can transform human beings and lead them to divinity was visually and spiritually inspiring. His show ‘Amour' (love) explored the delicate nuances of love inspired by the famous French sculptor and painter, Rodin. The video of Rodin's sculptures and the live presentation of Bharatanatyam by the artist struck a deep chord with the viewers. After the opening Mallari, the artist presented a piece based on Rodin's sculptures using Bharatiar's poem, ‘Paayum Oli Nee Enakku.'
Shanmugasundaram's impeccable interpretations of Francesca's immortal love using the padam in Pantuvarali—‘Netruvaren Endru' – was a realistic version. Dushyantha's blissful reunion with Sakuntala penned by the immortal Sanskrit poet, Kalidasa, evoked a willing suspension of disbelief. The number, ‘Shambu Natanam' of Patanjali portraying Siva's dance of wrath conceived and choreographed by the artist himself, was a nice combo of nritta and abhinaya etching a lasting impression in those present. The recorded music and the spirited dancing provided a shot of adrenalin to the rasikas.
In command
Divyata Arun 's freewheeling pirouettes revealed her excellent command over movement, rhythm and emotions. Her movements were soft and precise using the entire stage to the maximum advantage. Her performance of the traditional margam commencing with a varnam from Kamakshi stotram was full of pep and vigour with a spontaneous outpouring of bhakti. The majestic gait of the lotus-eyed goddess comparable to an elephant in the pushpanjali brought out the artist's endless store of energy. Dressed in yellow costume her portrayal of beckoning Udipi Krishna to come quickly in the padam, ‘Krishna Nee Begane Baro' was a memorable blend of dance and mime. The concluding piece from Soundaryalahiri depicting the Devi as an embodiment of all graces showed Divyata as a consummate artist bound by her own aesthetics.
Her keen sense of rhythm marked the recital throughout. The lilting music of Girija Ramasamy supported by Srinivasan on the violin, Viswanathan on the mridangam and nattuvangam by Shanmugasundaram capped it all.
