A Bharatanatyam Guru’s initiative to provide his Sishyas an opportunity to perform

Sridula Shivkumar will present a Margam, which is based on the works of Dandiuthapani Pillai.

There is no shortage of talented dancers, but many people find a Hercules task to find platforms to demonstrate their art. To support young talents from her school, Sridevi Nritilaya, founder and Guru Sheela Annikrishnan has established the SDN verb, a trust that gives young artists an opportunity to present research, concept and a Margam, and also supports them with a financial grant.

The first beneficiaries were Mridula Shivkumar, who was to work on the compositions of Nun Dandyadhapani Pillai. The dancer chose his five compositions. She began with a batch, danced with accuracy and filled with dynamic movements. But it would have been more beautiful if Mridula would have made her speed angry.

Vibrant footwork

In a small vanam, Mridula Shivkumar’s thermmanam demonstrated a fine feeling of his rhythm. , Photo Credit: Special Arrangement

‘Aadi Shivnai Kana Asikondeni Thoi’ – A little raga Varamanman settled his friend with a pinning heroine to bring his God. Thermmanams discovered various rhythmic patterns and Mistrola’s clarity revealed the spirit of the rhythm of the footwork. The depiction of Ardhanari, which was included in a Jati, easily replaced him from a man to a woman, and formed for an attractive addition. The dancer addressed this aspect of love with a combination of Sriingara and Bhakti Bhava, and the actresses discovered the poetic imagination through relevant ideas.

The dance raised the speed in the Charanam lines ‘forehead yarukkallam bhyama’ and the subsequent Chittaswar. Mridula can pay slightly more attention to the delimitation of emotions by maintaining Stei Bhava.

Students of Sridula Shivkumar, Sridevi Nrithyalaya. , Photo Credit: Special Arrangement

The Padam ‘Mundij Cholaiyil’ is often not presented on dance platforms. It speaks of the mood of the heroine and it contains references to poets Avvire, Ilango Adigalar and Thiruvaluvar.

The closing was a Thailana, originally choreographed for Kumari Kamla for Hindi film Chori Chori (1956). This complex composition is filled with a lot of calculations and pose, challenging, but Mridula tricked it with cleverness.

Chitrambari Krishnakumar provided sweet help on the voice. Guru Bhardwaj’s mridazam thrives, and Anantanarayan on zero Shashidra and Veena offered adequate support. Nattuvangam Kausalya was performed by Shivkumar.