Sahitya Ramkumar, the young Bharatanatyam dancer, who brought the house down with her Nritta, Natya and Abhinaya in her maiden solo presentation of self-choreographed ‘मम MĀRGAM’, presented at the Rangbhoomi auditorium, Gachibowli, on the first Sunday of February was a roaring success. The first ticketed programme in the City of Pearls was a sell-out and an encouragement to the young artist. For all those who missed out the maiden presentation of ‘मम MĀRGAM’, must clearly watch it the next time it is presented.
The Bharatanatyam dancer began the evening’s performance with a bow to Goddess Rajarajeswari in Rajarajeswari Ashtakam, a brilliant Sanskrit composition of Adi Shankaracharya set in Ragamalika, thus setting the stage for the things to follow. The moment the Arclight shone on Sahitya, various forms and postures of the Goddess came alive in her movements which were sculpturesque and one could witness the cosmic radiance in her presentation.
The next visual treat came, when Sahitya presented the Margam’s main piece, a Varnam – ‘Adi Shivanai’, a composition of Dandayuthapani Pillai in Todi Ragam. The young dancer won lot of accolades when she performed with ease the different layers of ideas from Chidambara Rahasya to Ajapaa Natanam, bringing out the Masculine and the Feminine aspects very beautifully. Portraying Ardhanareeshwara showed the dancer’s grip on Nritta, Natya and Abhinaya.
Soon after exhibiting the vigorous strength and lasya, Sahitya next moved to expressing Vatsalya, the motherly affection in a composition of Iraimaan Thambi, ‘Omana Thingal’ set in Ragamalika. In this melodious lullaby, the dancer did justice in her presentation of the motherly feelings of pride, affection and hopes of Travancore Rani Gowri Lakshmi Bai for her son, Swathi Thirunal.
Once again the dancer’s energy came alive when she danced as a peacock, the vehicle of Lord Kartikeya in the Thillana, composed by Violin maestro Lalgudi Jayaraman, set in Sindhubhairavi Ragam. The minutest details of the peacock were visible in her presentation.
The curtains of the evening’s performance came with Namdev’s Abhang, ‘Bhakta Jana Vatsale’, depicting the devotion to Panduranga Vitthala. To get into the character of a devout, Sahitya added an embroidered shawl to her attire and the audience was seen immersed in her dance devotional spell. In the presentation, the folk movements were visible as per the Natyasastra.
Sahitya, who learnt dance under P. Ramalinga Sastry and donned the lead character in many of his ballets, is currently training in Karanas under Vithya Arasu, and Abhinaya from Dr. Anupama Kylash. The young dancer gives credit to S. Jayachandran whose lec-dem helped her in choreographing the Varnam. A senior Bharatanatyam dancer, Praveena Vadapalli, who has seen Sahitya’s journey, and witnessed the ‘मम MĀRGAM’, says: “Her Bharatanatyam now shows a blend of Master garus style which is her foundation with charis in padukka style put in appropriately and blended together into her own style of execution.”