When you get to see something nice

The art form of bharatnatyam is such that unless there is that precision combined with grace there is likely to be boredom while watching an average performance. And this is something that happens as a matter of routine considering there are so many dancers and almost all of them want to be on stage to show what they have learnt, not necessarily mastered – to the best of their abilities. And sometimes this best does not seem enough for the style shows up average dancing.
Which is why one was pleasantly surprised to see the recital of Vinidhra at the Narada Gana Sabha Mini Hall on July 18. It was a recital that not just brought out the beautiful geometrical precision of bharatnatyam, but was also laced with so much grace that all the angularities came across as something very aesthetic. And this comes about also with good sound training and dedication.
Coming as she does from the United States, Vinidhra has been learning dance there and has had her arengretram and has been placed in the Top Five at the First Cleveland Aradhana Dance competition in April 2007. Now into her second year of undergrad at UC Berkeley, California, the artist gave a very account of herself and the margam she chose to display.
Beginning with the Mallari – one of the most traditional pieces in the bharatnatyam repertoire, the Gambheera Nattai piece was a prelude to a recital that was filled with some very memorable moments. The stances, the positioning of the hands, the manner of being firmly in control over the nritta , and the easy mobility of expressions that came in smooth transitions --all of these and more ,were evident in all the pieces chosen. The Sadashivan Maindane in Hamsadhwani, a Maharajapuram Santhanam composition brought back nostalgic memories of this musical maestro and Vinidhra gave this item a unique empathy while describing Shiva. The ode to Shiva continued into the Varnam, Konjum Salangai in Lathangi, a Madurai Muralidharan, composition, which had several beautiful jathi portions with a wealth of devotion attatched to it. It was particularly in this that her stances bore the strength of training and practise, as she appeared light footed and yet firm when it came to footwork. In praise of Goddess Lakshmi, Ranjanimala in Ragamalika, was eloquently done also thanks to the sensitive vocal by Hariprasad. In fact the entire recital felt uplifted also thanks to this element. The Theruvil Vaaraano in Kamas, and the Thillana in Kadanakuthoohalam, concluded the recital that reiterated that for a good bharatnatyam recital there needs to be more than just years and mere knowledge of the dance form. There also needs to be that extra lustre and soul to what one does to bring about an effectiveness that translates into something memorable. Guru Vidhya Subramanian must also be credited for this – and on the nattuvangam conducted the recital with quiet grace. Sigamani on the Violin, Nellai D Kannan on the mridangam and Sashidharan on the flute provided good orchestral support despite the indifferent acoustics at the hall. .