Krithi Tupil presented her Bharatha Natyam arangetram at the Lexington Heritage Museum on September 7, 2014.  Krithi is a student of renowned dancer and Guru Smt. Sunanda Narayan of the Thillai Fine Arts Academy, Boston.  Guru Sunanda is an acclaimed exponent of the Vazhuvoor style of Bharatha Natyam.

Krithi, another capable student of the Thillai School, delivered a presentation of the caliber that we have come to expect from Guru Sunanda’s students. Krithi,  it goes without saying, demonstrated a firm grasp of the elements of Bharatha Natyam as well as the distinct embellishments of the Vazhuvoor Bani.  

The richness of Bharatha Natyam derives from its many facets in terms of elements, techniques, and repertoires.  Further, each dancer creates a unique aesthetic through her own form and presentation. However, what struck me about this arangetram was how Krithi fully conveyed the artistic intention of each piece in the repertoire; indeed, each piece in the repertoire- even down to the raga selection – seemed perfectly suited to this young thirteen year old dancer.  This in no ways implies that the presentation was simplified or scaled down. Rather, the entire presentation was fresh and sprightly and delivered with tremendous charm by Krithi.  While this without doubt is due to Krithi’s effort and dedication, it foremost reflects the tremendous skill and involvement with which Guru Sunanda develops her young shishyas into very capable dancers.  

The arangetram commenced with the invocatory Thodaya Mangalam dedicated to the deities of the Vazhuvoor temple.  This was followed by the Pushpanjali and “Maale Manivanna” from Thiruppavai Pasuram by the 8th century poetess Andal .  Following the Alarippu, Krithi presented “Pirai Aniyum Perumaan”, dedicated to the destroyer of obstacles, the elephant-headed God Ganesha

In place of the traditional varnam, Krithi presented a “Saptharatna  Krithi” of Oothukadu Venkata Kavi, Balasarasa Murali, in Ragam Kiravani.  Guru Sunanda shared with the audience that this composition, so apt for Bharatha Natyam, was suggested to her by Guru Smt. Durga Krishnan.  The presentation, depicting all of creation enraptured by the splendor of Lord Krishna, was beautifully conceived by Guru Sunanda for her young student.   Guru Sunanda’s choreography was, as always, inspired and without compromise and conveyed the mood and meaning of the piece through a seamless weave of movement, rhythm and abhinaya .  Krithi executed the exacting jathi (pure dance) passages and complexities in the tattu mettu- in places at speeds and rapid changes in direction that would have stymied most dancers - without falter and with grace.  Krithi’s depiction of Kalinga Nardhanam was particularly powerful as she effortlessly leapt in and out of mandi in perfect form.  Krithi sustained absolute involvement through this difficult piece, surely bringing her Guru’s artistic vision to full realization.

The second half of the recital commenced with that jewel in the Bharatha Natyam repertoire, Gopala Krishna Bharathi’s “Natanam Adinar”- and that too, with the vintage choreography of the legendary doyen of the Vazhuvoor Bani, Guru Ramaiah Pillai.  As Guru Sunanda noted, this is also the choreography made famous by the legendary Kamala and her sister, Rhadha, who is Sunanda’s guru. How blessed Krithi is to inherit from such an artistic lineage and indeed how lucky were we to witness the choreography of the great master.

This was followed by Papanasam Sivan’s “Naan oru vilayaatu bommaiya”in Navarasakanada in which the dancer laments being nothing more than a doll or a toy to the Goddess who is deaf to her pleas for salvation.  The interpretation of this piece focused intently on the plaintive beseeching of the devotee and beautifully conveyed the poignant mood of the composition. Krithi learned this piece from senior artist Smt. Bragha Bessel of Chennai and rendered it with utmost sincerity. The depictions of “Bommai” (doll) as a top or a puppet were wondefully creative without being contrived.

Krithi then presented a delightful “Kavadi”, “Paadaravindamey”, a composition of Smt. Ambujam Krishna, set to the lilting raagam Maand.  The recital concluded with the lovely Durga Thillana composed by the contemporary maestro, Sri Lalgudi Jayaraman.  The thillana was choreographed in Pancha Nadai format, with unique use of diagonal and vertical movement and studded with beautiful depictions of the Goddess.

The recital was led by Guru Sunanda with support from a veteran orchestra who created an artistic experience far beyond the sum of its parts.  Vocal support was provided by renowned musician and scholar, Smt. Sujatha Vijayaraghavan (also Guru Sunanda’s mother) and Smt. Ramya Rangarajan.  Percussion support was provided by Sri Toronto Gowrishankar and instrumental support by celebrated local gurus Smt. Tara Anand on violin and Smt. Durga Krishnan on Veena.  Truly, it is not for me to comment on artists and Gurus of such stature other than to say how incredibly lucky we are to have them in our midst.  

Yet another stellar arangetram from the Thillai School and yet another disciple who has done Guru Sunanda proud.  

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