Malavika Sarukkai’s “Dharsan” a true show of her abilities

In comparison to Alarmel Valli’s performance the previous night, I thought Malavika Sarukkai’s “Dharsan” was a much livelier and energetic show. Not only was her choreography and execution of adavus vibrant and unique, but her conceptualization and depiction of the various forms of dharsan were captivating.

The first piece was a tribute to Lord Ranganatha. Reclining on a bed of serpents in the middle of the cosmic ocean, Lord Ranganatha’s left hand is described metaphorically by his consort Lakshmi, the demonic asuras, and the  surrendering devotee. To Lakshmi, Rangantha’s left arm is like a fragrant garland of flowers, whose embrace she yearns for; to the demons, his arm is as frightening as a thunderbolt; to the devotee, his arm provides protection, like the branch of tree. I was impressed by the remarkable grace exhibited by Sarukkai when portraying goddess Lakshmi, in contrast to the bhaya (fear) portrayed by the asuras immediately after. I was mesmerized by her poses, which resembled those carved into ancient temple walls. Again, as with Valli, it was a real treat to witness such poise.

However, in the case of Sarukkai, the content of her dances held my attention, and I was not glancing at my watch every few minutes. I thought her second item was her strongest, a piece describing Lord Rama’s arrival in Mythilai. The women of Mythilai watch intently as Rama walks by, some excited and obvious like a deer…others glance gracefully his way like a peacock. Still others peer out their windows furtively like stars in the night sky. I thought this piece truly was a “dharsan” of Sarukkai’s superior Bharatanatyam aplomb as she represented the deer-like scampering of some women as well as the cool gait of others (like peacocks). The subsequent adavus were also appropriate to the segments they followed–fast for the deer, smooth for the peacock, and staccato for the stars.

The next two Krishna pieces, one of which was a North Indian Meera bhajan, were somewhat weak I felt, at least in comparison to the first two. But she finished with a very energetic and distinct thillana which I thought ended the performance on a sweet note.

Overall, Sarukkai’s performance displayed her talent as a Bharatanatyam dancer and her originality as a choreographer: “Dharsan” was truly a show of spirit.