Nivedhyam, as the name implies, was a heartfelt offering in the enchanting form of Bharatanatyam, given by Niveda Baskaran, a disciple of Guru Sri. Sapna Krishnan of the Lasya School of Dance. This soulfully composed repertoire was exhibited at the Rogers Center for the Arts in North Andover on August 10th. Niveda, who completed her Arangetram five years ago, decided to give back to her community with selfless service as well as spiritual beauty; together with the 500+ people who attended the show, she raised $6,243.00 for the Make-A-Wish Foundation to sponsor the dream of a child afflicted with cancer.  Renowned dancer and composer Guru Sri. Madurai R. Muralidharan was the chief guest for the event. The orchestra par-excellence included Smt. Guru Sapna Krishnan for the Nattuvangam, the heavenly voice of Sri Sudev Warrier, the energetic Sri Sudhaman Subramanian on mridangam, and Sri Ramani Thiagarajan’s soulful flute.

The performance began with Om Greem, a beautiful invocation to Devi, the feminine nature of the Divine. Niveda began by playing the role of an elderly pilgrim who stumbled upon a procession where the deity is taken on a palanquin. I was particularly astounded by her abhinaya as she seamlessly transitioned from a sincere, aged worshipper to the majestic manifestations of Devi Herself. I felt the shivers go up the spines of those seated next to me as they witnessed the longing and love of the devotee and the unparalleled joy she had when she was blessed with the presence of Durga, Kali, Parvati, and Annapurna.

Niveda’s every hasta, adavu, and expression was precise, fluid, graceful, and had a quality of subtlety which is very refreshing to see in a bharatanatyam performance. Niveda’s love for the art form had a gravitational presence – anyone who came was lured into the transcendent and heavenly. The guest of honor, Sri Madurai R. Muralidharan, praised Niveda’s technical brilliance, heartfelt expression, and beautiful interpretations. The varnam, Swaami Naan Undan Adimai in Ragam Nattakurunji,  was an ode to Lord Nataraja, in which Nayika beseeches Shiva that she is at His service – so much, that the world bears witness to it. This nearly 25-minute varnam was incredible in every aspect – nritta (pure dance), nritya (emotive dance), and natya (a combination of nritta and nritya). This piece was a dynamic exchange between the dancer and the audience – the state of the dancer in this piece was so overwhelming and profound that she became a channel to express the timeless truths of this ragam.

The next piece, Shri Ramachandra Kripalu was a stirring bhajan on Lord Rama composed by the saint Tulsidas. The vocalist, Sri Sudev sang the verses beautifully, and Niveda performed this piece with grace and subtlety. Her depth of understanding of this bhajan was revealed in her beautiful interpretation of the rasa of karuna, or compassion, that Rama shows to Sabari, his lifelong devotee. 

Following the bhajan was a Marathi abhang in praise of Lord Krishna, whose enchanting flute music fills all of Vrindavan. In this delightful piece, Niveda’s flawless performance inspired us to be flutes ourselves – instruments that must be hollowed and emptied for the Divine love to flow through and express the timeless music of the cosmos.

The night then took to the intense feelings of love, anticipation, and betrayal in a Telugu Javali. Here, we could truly see the versatility of Niveda’s bhava (expressions), as she played the role of Nayika, who awaits the arrival of her beloved. The choreography in this piece was innovative, refreshing, and aesthetically stunning. We felt the anticipation of Nayika as she adorns herself with jewelry and flowers—slowly and with care. Our hearts rose with excitement and she glimpses from behind the curtain, looking for her beloved, and we sat with bated breath for the moment we knew her heart would break. It is one thing to portray an emotion as powerful and intangible as romantic love, and an even more difficult task to portray the mélange of bewilderment, anger, and hurt when faced with betrayal – Niveda accomplished this wondrously.

No dance repertoire is complete without the playful tales of Krishna. In Oothukadu Venkatasubayyar’s Vishamakara Kannan, Krishna pulls the hair of ladies, breaks pots, demands butter, and plays all sorts of tricks on unsuspecting villagers. Here, we are reminded of the nature of God, who demands our complete attention and will break any barriers we have erected around our ego. The coordination between the musicians and the dancer was particularly noteworthy in this piece; Sri Sudev’s every word, Sri Ramani’s every note, and Sri Sudhaman’s every drumbeat, Guru Smt’s every syllable, and Niveda’s every expression was infused with the lightheartedness of this ragam.

Smt. Priyadarsini Govind once noted that  a successful thillana is one that stays with you long after the performance is over. This thillana, in ragam Madhuvanti, praised once more, the ever-captivating flute player, Lord Krishna. In the small verse at the end of the thillana, Nayika expresses her longing for Lord Krishna, who has filled her mind, her dreams, and her entire being. Niveda’s smile in the middle of the performance was one that I will always remember -- at the end of a complex jati, she paused in a beautiful pose and smiled to the audience. This smile was an incredible summary of the ending verse, and the audience was transported to a place of bliss and longing.

Bharatanatyam, in its essence, is not only about how precisely the dancer executes her pieces, how uniquely the musicians interpret a ragam, or how innovatively the guru choreographs the music – it is, after all, about the soul. The most fulfilling aspect of attending Nivedhyam was the beauty, grace, and sincerity of Niveda, Guru Sapna Krishnan, Sri Sudev, Sri Sudhaman, and Sri Ramani. Divine beauty can only be channeled through beautiful souls, and the beauty of the performance was a testament to the natural radiance that shone from their spirits.

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