An Enchanting Celebration of Devotion and Artistry

On the auspicious evening of February 11, 2025, the Dharmalingeshwara Temple (Nanganallur) witnessed a spellbinding performance by S. Chandhini (disciple of Dr. Sujatha Mohan). Her unwavering dedication illuminated each piece, creating an experience that was both transcendental and deeply evocative.

The evening commenced with Ganapathy Kavithuvam in Ata talam, Gowlai, a composition by Shri Madurai R. Muralidharan. Chandhini’s performance balanced intricate jatis with a deep sense of surrender to Lord Ganesha, bringing out the kavithuvam’s poetic grandeur.

The Thevara Alarippu, set in Tisram, was a revelation. Drawing from the Thevaram Naalvar, Chandhini imbued each phrase — Thodudaiya Seviyan, Piththa Pirai Soodi, Madar Pirai Kanni Yaanai, Siva Puranam — with profound bhakti. The dynamic tisram patterns enhanced the rhythmic interplay, rendering the piece both traditional and refreshingly new.

A highlight of the evening was Sri Chakra Raja in Ragamalika, Adi, composed by Sage Agastya. The mystical power of Sri Vidya was reflected in the performance, where seamless raga transitions mirrored the multilayered depth of Devi worship.

With Nagendra Haraya in Kanda Chapu, composed by Dr. Padma Subrahmanyam, Chandhini brought Lord Shiva’s grandeur to life. Vigorous nritta segments, juxtaposed with meditative stillness, created a compelling visual tapestry.

A delightful contrast followed with Vishamakaara Kannan in Senjurutti, Ekam, by Oothukaadu Venkata Subbaiyer. The mischievous, enigmatic persona of Krishna came alive through expressive choreography — playful, teasing, and brimming with charm. The sancharis captured Krishna’s unpredictability, leaving the audience enchanted and instinctively joining in with applause.

The recital concluded with Kavadi Chindu (Azhagu Deivam) in Senjurutti, Adi, by Periyasami Thooran. The folk-infused vibrancy of this piece allowed for an exuberant interpretation, drawing the audience into the devotional fervor of Lord Muruga’s kavadi-bearing devotees.

What made this recital truly special was that Chandhini’s repertoire was rooted in tradition while remaining thoughtfully creative. The emotional depth in her bhavam bore testimony to her artistic sensibility.

As the final notes faded into the temple’s sanctity, there was a lingering sense of fulfillment. The evening was a testament to the power of Indian classical dance in communicating timeless spiritual and emotional truths, leaving the audience in reverent awe.