Mridula Shivakumar will present a margam, based on the compositions by K.N. Dandayuthapani Pillai.

There is no dearth of talented dancers, but many find it a Herculean task to find platforms to showcase their art.  To support young talents from her school Sridevi Nrityalaya, founder and guru Sheela Unnikrishnan has set up SDN’s Kriya, a trust that  provides an opportunity for young artistes to research, conceptualise and present a margam, and also supports them with a financial grant. 

Among the first beneficiaries was Mridula Shivakumar, who had to work on the compositions of K.N. Dandayudhapani Pillai. The dancer chose five of his compositions. She began with a jathiswaram, danced with precision and filled with dynamic movements. But it would have been more graceful if Mridula had tempered her pace.

Vibrant footwork

Mridula Shivakumar’s theermanams in the Thodi varnam exhibited her fine sense of rhythm.
| Photo Credit:
Special Arrangement

‘Adi sivanai kana asaikondenadi thozhi’ — the Thodi raga varnam dealt with a pining heroine beseeching her sakhi to fetch her lord. The theermanams explored varied rhythmic patterns and Mridula’s clarity of footwork revealed her sense of rhythm. The depiction of Ardhanaari, which was incorporated into a jathi, saw her transform from male to female with ease, and made for an appealing addition. The dancer addressed this aspect of love with a combination of Sringara and Bhakti bhava, and the sancharis explored the familiar poetic imagery through relevant ideas. 

The dance picked up momentum in the charanam lines  ‘Mathe yarukakilum bhayama’ and the chittaswaras that followed. Mridula could do well with a little more attention to the delineation of emotions by maintaining the sthayi bhava.

Mridula Shivakumar, student of Sridevi Nrithyalaya.
| Photo Credit:
Special Arrangement

The padam ‘Muthamizh cholaiyile’ is not frequently presented on dance platforms. It speaks of the heroine’s mood and incorporates references to poets Avvaiyar, Elango Adigalar and Thiruvalluvar.

The finale was a thillana, originally choreographed for Kumari Kamala for the Hindi film Chori Chori (1956). This complex composition, filled with a lot of calculation and poses, is challenging, but Mridula rose up to it with  finesse.

Chitrambari Krishnakumar provided melodic support on the vocals. Guru Bharadwaj’s flourishes on the mridangam charmed, and Sashidar on the flute and Anantanarayan on the veena provided adequate support. Nattuvangam was by Kausalya Shivkumar.