The next piece was Sankari Sadanandalahari in Malavi, a composition by Jayachamarajendra Wodeyar of Mysore. A Srividya upasaka, Wodeyar’s devotional works are marked by their philosophical depth. Five from the ensemble danced, each one of them a beautiful individual dancer who have in recent times been making a mark in the field as young artists.          

The next piece was Melattur Veerabhadrayya’s Antha Vanchana Chesina in Anandabhairavi, performed by Indira Kadambi. The composition portrayed the feelings of a woman distressed by her husband’s attention to another woman. The rhythmic jathis were beautifully complemented by Ramya’s soulful singing, while Indira’s playful expressions added charm to the performance.

Indira’s excellent use of stage space and the lively teermanams kept the audience engaged with unexpected endings. Her storytelling, filled with humour and sarcasm, brought the emotions of the character to life. The performance flowed so effortlessly that it was hard to believe an entire pada varnam had been completed as a solo.

The performance featured seamless character shifts between the husband, his wife, and the other woman. Notable moments included the scene where the husband admires the other woman and requests her to play the veena, and another where he returns home exhausted, attempting to sleep, only to be interrupted by his wife. Her sarcastic retort, accusing him of pretending to be a sage, drew hearty laughter from the audience. This solo by Indira brilliantly highlighted her mastery of the art

Vocalist T.V. Ramprasad, mirrored the dancer’s movements and mood transitions, weaving a rich tapestry of melody and rhythm. The highlight was the medley of two ninda stutis – Kalamegam in Tamil and Purandaradasa in Kannada. In the backdrop of a wedding, there is a debate on the virtues of their husbands between Parvati (Indira) and Lakshmi. Saibrinda (Lakshmi), Aisvarya (Siva), Sandhya and Apeksha (Sakhis), Meera (Muruga), Preksha (Vishnu) were brilliant in their body language and the minute expressions in this composition and made the experience quite relishing.  

The subtle lights in Tyagaraja’s Eti Janma in Varali and misra Chapu as Indira in her solo rendition created a stillness. The glow of Marakoti (one crore cupids) coinciding with the bright profile and the mildness of the lavender as Rama walks; Jatayu’s heartbreaking sacrifice and Sugriva’s confidence coupled with the spontaneity of the live orchestra brought both the dancer and audience on the same platform as she questioned, “What kind of life is this? Why did this birth take place?” Nitish Ammannaya (flute) and Nagaraj (mridangam) walked along with the characters. 

The end was a bold experiment - the ‘English Note’ in Sankarabharanam and Tisra gati, a composition of Harikesanallur Muthaiah Bhagavathar. Indira’s son, Vishnu Ramprasadh who played the navtar (nine string instrument) in the concert, added the harmonies to the piece.

The dancers performed a choreography inspired by the concept of ballroom dance – in duets and hop, skip, jump and exchange of partners. Staying true to the spirit of a tillanas’ vibrant energy, the end was taken to a peak with the dancers challenging each other in select basic adavus – paidhal, sarakku, kuditta mettu, mandi, rendering each one with precision and most importantly joy. 

The joy lingered as the audience hummed the melodies while leaving the auditorium. Even days later the performance remained vivid in memory—a rarity in a city bustling with Bharatanatyam performances year-round.

PC: Vijay Aswin