Harinie’s performance - Poised in Tradition

Aharya abhinaya—the visual aesthetics of a dancer—creates the first impression on the audience. Dressed in a green and red pant-style costume that seemed slightly constricted, Harinie did not quite achieve the initial visual impact. Nevertheless, her stage journey began with a mallari, entering with hands depicting a pallaki. This segment was accompanied by verses from Tholudaya Seviyan in the Tevaram, composed by Thiru Gnanasambandhar.

Yato hastas tato drishtih is a principle every dancer follows, but at times, the demands of choreography call for exceptions. In this instance, the nature of the procession required full concentration, which Harinie struggled to maintain.

The central piece was a varnam in Kambhoji raga set to Adi tala — Maadhanai azhaitu vaa sakiye by Thiruveezhimizhalai Pillai. Harinie performed with elegance, with many padabhinaya and crisp arudhis. The jatis, composed by Guru Bharadwaj, were performed with precise adavus and minimal embellishment. The lyrics praising Muruga were complemented by sancharis depicting peacocks and his charm. Her guru, Sheela Unnikrishnan, offered remarkable nattuvangam with intelligent rhythms that elevated the performance. Throughout the piece, Harinie maintained a palpable sthayi bhava, paying special attention to the subtleties of satvika bhava.

Following this was a padam from Nandanar Charitham—‘Varuga Laamo’ in Maanji raga. Padams are typically known for their roopakas and rich imagery; however, this piece was presented in a more understated manner, with an emphasis on padabhinaya.

The performance concluded with a tillana in Surati raga by Oothukadu Venkata Subbaiyer. Harinie’s portrayal of Kalinga Nartana was infused with grace and vibrant energy, providing a dynamic finale. Though she faced the challenge of covering a vast stage, her performance was filled with love for her craft and she carried the beauty of the art form with much grace.