A graceful Bharatanatyam recital

Vivek Ramanan, a multifaceted and dynamic U.S.-based young and highly talented Bharatanatyam artiste, presented an excellent solo recital on Sunday. Apart from his command over Bharatanatyam, he is also proficient in Konnakol and Mridangam. His formative training was under Madhusri Sethuraman and Vidhya Subramanian in Bharatanatyam, and Ramesh Srinivasan for Mridangam. He is currently under the mentorship of Dr. Apoorva Jayaraman and performs, choreographs, and creates music for dance. It was refreshing for this critic to have the opportunity to review a dancer of such exceptional virtuosity, as Hyderabad has very few high-quality Classical Dance Institutes like Shankarananda Kalakshetra, Deepanjali, and a few others compared to Chennai or Bengaluru. Refinement, versatility, and a highly polished style were the hallmarks of the recital.

Vivek appeared in a simple orange costume with a black border and minimal ornaments. Evidently well versed in the importance of fitness for a dancer, he had a chiselled appearance resembling a perfectly proportioned ancient Grecian sculpture of Pheidias or Praxiteles. A high degree of internalisation and interpretative acumen was evident throughout. His mudras were crisp and authoritative.

Shuddha Nrittam, a pallavi composition by Saktivel Murugandam in Nalinikanthi, offered scope for a variety of dazzling poses. This pure dance item interplayed melodic rhythms (swaras) and percussive beats (jathis). The limb movements were so symmetrical and synchronised that they evoked a sense ofmathematical precision in their fluid transitions.

Select verses on Manmatha from Kalidasa’s Ritusamhara followed, presented with interesting exposition. Dr. Apoorva Jayaraman’s sparkling, diamond-sharp choreography was enthralling. Manmatha, the God of Love, is unable to carry out his duty of infusing love into the hearts of couples. His efforts to fix arrows to his bow are repeatedly thwarted by the intense heat of summer.

Even the Sun God conspires against him. As the horse-drawn chariot of the solar orb revolves majestically, waves of heat emanate and render Manmatha bewildered and lethargic. Though he tries time and again to wield and aim his weapons of love, frustration overwhelms him. Fatigued, he wipes the sweat from his brow, awaiting the cool breeze that might rise with the moon after sunset.

However, his relief is short-lived, as the oppressive atmosphere continues into the night. The anticipated change does not occur, transforming his excitement into exhaustion. The musical background for this segment was in Jyotiswaroopini. The Kshetrayya padam “Ela Vacchitive”, presented in Navroz, expressed the sincere advice of an older friend to a younger one. The futility of sudden anger is delicately reprimanded. The subtle nuances were beautifully conveyed as the conversation revolves around resisting momentary irritation. The desired Lord is said to be suffering, restlessly weeping and pining; hence, a fleeting moment of anger should not cause permanent separation when the other party is eager for reconciliation. The piquant poignancy and the wisdom imparted, burnished through dazzling abhinaya, were exceptional. Every tiny look or gesture communicated deeply with the audience. Vivek exuded serene confidence and luminous brilliance in his effortless melding of abhinaya and nritta, charming the spectators into continuous applause. The concluding piece was a short Behag Thillana composed by Balamuralikrishna. It was energetic and embellished with statuesque attitudes. Pure nritta shone as the artiste remained buoyant in his rendition. His adavus were meticulous, and his angika abhinaya radiated grace and elegance. The 40-minute program created a desire for a more extensive performance—precisely as it should. Kudos are due to the management, headed by Sri Kishan Rao, for offering artistes from across India and abroad the opportunity to perform before a large and appreciative audience free of charge. Such support is essential to encourage the Classical Arts, a vital element of our cultural heritage. For critics and connoisseurs, the chance to witness diverse, highly gifted artistes of exceptional calibre in pleasant environs is a rare and welcome boon.