Quietly Dancing: Nitya Sriram

According to the Natya Sastra, Brahma created the Natya Veda during the Treta Yuga, when humanity had become consumed by desire, greed, anger, and sorrow, and the gods sought a kridaniyaka—an art form that could be seen and heard by all, bringing delight, instruction, and solace. Thus was born Natya.

With that idea in mind, Akhila Krishnamurthy of Aalaap presented the first edition of her curation - the Quietly Dancing series with Nitya Sriram, disciple of Leela Samson. Stepping onto the stage without the desire to trend, Nitya offered a traditional platter at the mini hall of Narada Gana Sabha accompanied by recorded tracks.

Nitya began with the Tillai ambalam sabdam, composed by Tanjavur Arunachalam Pillai and choreographed by Adyar K Lakshman in praise of Lord Nataraja. The devotee marvels at His cosmic dance and questions “When will he notice her boundless love?” For Nitya, performing as part of a series that celebrates dance away from the pressures of the mainstream, this question of being "noticed" felt almost symbolic. The spark took some time to ignite between the internal quietude Nitya possessed and the external projection that a visual art inherently demands.

The central piece, Samiyai azhaitodi va, a popular varnam composed by Dhandayudhapani Pillai was a neat presentation taking off from Mamadi mukhamo. “My mind is heavy, and even his moon-like face is burning me.” Jatis were seamless as Nitya moved at ease executing the teermanams right at the centre. At the onset of the chittaswaram that flowed to Sada ninaivu kondu…Sankarabharnanai...the audience had settled, and Nitya too sank deeper into her performance. The effortless araimandi, which never appeared forced or artificial, contributed to the relaxed mood of the quiet afternoon. Ur ariya manam puriven..looked like a natural conversation: “He promised me he will marry!”

Kaana kan kodi vendum, a Papanasam Sivan keertanam describes the opulent procession of Kapaleeshwara and Karpagambal through the streets of Mylapore. The piece had a duality of grandeur and intimacy through Nitya. On one hand were the verses describing dazzling gems, fragrance of garlands, celestial retinue of gods, on the other hand was a sense of longing and reminiscence through Nitya, that travelled on two paths (perhaps waiting to meet).

Tillana in raga Bilahari was the final number. A notable composition of M.D Ramanathan, choreographed by Rukmini Devi Arundale, widely practised by students of the Kalakshetra lineage is in praise of Tripurasundari. The gradual use of limbs – with the eyes and the leg movements without the hands and then moving onto mei adavus, gradually moving onto complicated korvais and crisp and short teermanams held a typical vintage beauty of the style that Nitya depicted quite aptly.

Overall, the performance was a potent reminder that quiet, committed practice has its own enduring rewards. Akhila Krishnamurthy's initiative ensures that such work finds an appreciative audience.