PunarIKSaNa

Nirvikalpa — Pradosham Series

A Review of Kumari Idihasini’s Bharatanatyam Recital at Sri Dharmalingeshwarar Temple:

On the auspicious evening of August 17th, the serene atmosphere of Sri Dharmalingeshwarar Temple in Nanganallur was infused with the divine energy of Bharatanatyam, as Kumari Idihasini took the stage under the banner of Nirvikalpa. This recital, part of Nirvikalpa’s Pradosham series, was a true testament to the platform’s dedication to preserving and upholding the traditional values of Naatyam, with a focus on the Guru-Shishya parampara.

The recital began at 6:30 pm, just as the day was transitioning into the sacred hours of Pradosham. Idihasini, a disciple of the Sri Shabin Bright, gracefully introduced the audience to the traditional Bharatanatyam repertoire with her Pushpanjali, followed by the Pachai Ma Malai slogam. The choice of Gambheera Natai in Adi Tala set the tone for the evening — a tone of reverence, precision, and deep spiritual connection.

Following this, Idihasini presented the Devi Shabdham, a piece rich in both emotion and complexity, set to a Ragamalika and Misra Chapu Tala. Composed by Madurai N. Krishnan, this piece highlighted her ability to embody the various nuances of Goddess Parvati. Her abhinaya was compelling, reflecting the depth of devotion and the layered emotions associated with the divine feminine.

The centerpiece of the recital was the Anname Varnam, an intricate piece revolving around Lord Muruga, his consorts Deivanai and Valli, and the profound emotions that arise from divine love and longing. The Varnam unfolded in two parts: the Poorvangam depicted Deivanai as a Virahothkantitha, longing for Muruga, while the Uthrangam portrayed her as a Kanditha, her sorrow transformed into anger as she awaits Muruga’s return. Idihasini navigated these emotional shifts with maturity beyond her years, particularly in the Sancharis illustrating the Soora Samharam. The detailed narrative, combined with her technical prowess, captivated the audience, drawing them into the divine drama.

A particularly memorable moment in the recital was the Shivapanchaksharam, where Idihasini invoked the essence of Lord Shiva through powerful nritta and expressive abhinaya. The rhythmic complexity and the spiritual depth of this piece resonated deeply within the temple’s sanctum, leaving the audience in awe.

The recital concluded with a Thillana in Revathi, also composed by Madurai N. Krishnan. The piece, dedicated to Devi, was a fitting finale, showcasing Idihasini’s agility, precision, and joy in dance. Her expressions were radiant, and her footwork, intricate and sharp, left a lasting impression on the audience.

This performance was not just a display of technical expertise but a profound spiritual offering. Through each piece, Idihasini demonstrated a deep understanding of the bhava, raga, and tala — elements crucial to Bharatanatyam. Her dedication to the art form and the guidance of her teacher, Sri Shabin Bright, were evident throughout the recital.

Nirvikalpa’s mission of providing a platform for young, talented dancers like Idihasini is crucial in today’s world, where the true essence of classical dance is often overshadowed by commercial and superficial representations. Platforms like Nirvikalpa are vital in ensuring that the traditional values of Naatyam are preserved and passed down to future generations without dilution. They play a critical role in providing artists with opportunities to perform in authentic settings, ensuring they are adequately compensated and celebrated for their art.

In conclusion, Kumari Idihasini’s performance was a splendid offering to the divine and a powerful reminder of the importance of tradition, mentorship, and authentic experiences in Bharatanatyam. It is heartening to see platforms like Nirvikalpa leading the way in preserving and nurturing the rich heritage of classical dance.