Shreya Srinivasan and Lakshya Srinivasan, students of Acharya Soumya Rajaram (Samskriti School of Dance) presented their maiden recital, Arangetram, at Lexington Christian Academy on July 9, 2022.

Walking through the foyer, one was welcomed by a montage of visuals that showcased the shishyas’ dance journey with their teacher over the years. Prior to commencing the program, the dancers offered their oblations to Lord Nataraja, after which Acharya Soumya handed over the ‘Salangai’ to them.

The opening piece, Thodayamangalam, a rather new addition to the ‘Margam’ set the stage for the dancers to display their grace and perfection in technique as we savored the words “Jaya Jaya” and “ Charanu Charanu.” This piece exclusively choreographed by Guru Adyar K. Lakshman for the yesteryear actress, Vyjayanthimala Bali, brought out the classicism of the Kalakshetra bani. Following this was Alarippu in Chatushra talam, presented with poised attamis and precise rhythmic footwork.

What followed next was the Tanjore Quartet’s distinctive Saveri Jathiswaram. The Jathiswaram is now becoming uncommon in Bharatanatyam programs given the depth and complexity of this pure ‘Nritta’ piece. In her introduction, Acharya Soumya recalled that this item was part of her training at Kalakshetra and it was taught to her for over six months – such is the rigor that this piece demands! Shreya and Lakshya handled this exquisite piece with ease and brought out the underlying geometrical beauty of the abstract movements.

At this point, the dancers were ready to showcase the ‘Nritya’ aspect of the repertoire. Shreya & Lakshya communicated with the audience through many expressive gestures as they presented the famous Shabdam, Aayar Sheriyar, and elaborated on Lord Krishna’s heroic attributes and antics.

We were then treated to the mesmerizing Swami Naan Undan Adimai – a ‘Bhakthi Shringara’ Varnam composed by the genius Papanasam Sivan in Nattaikurunji. Acharya Soumya fondly reminisced how she learned this special choreography from Manjari Chandrasekhar (Daughter of Prof. C.V Chandrasekhar) which she has now passed on to her disciples. It was a pleasure listening to the complicated jathis in Prof. Chandrasekhar’s voice to which the girls danced in utmost synchrony. The visual imagery painted by the Shreya & Lakshya in many parts of the Varnam was noteworthy – be it when they described Lord Nataraja’s majestic elephant-like gait, his matted locks, or his cosmic dance. The Varnam, overall, turned out to be truly a spiritual elevation for both the dancers and the audience.

The second half of the program opened with a solo presentation by Lakshya for the popular Kriti Jaganmohanane Krishna in Ragamalika. A lilting choreography of Krishnaveni Lakshmanan of Kalakshetra, Lakshya brought out the devotional quality of this Purandaradasa Devarnama with immersion and great passion.

Following this, Shreya individually performed the famed Theruvil Varano Padam, a musical monologue written by Muthuthandavar. Padams offer the widest scope for Abhinaya, expression of sentiments. The fact Shreya had internalized the bhava and subtexts in its entirety was very evident as she expressed a myriad of emotions with her portrayal of a damsel eagerly waiting for a compassionate glance from Lord Nataraja.

Another new plug-in to the Bharatanatyam repertoire – Kavadi Aatam or ceremonial dance, an important form of community dance from Tamil Nadu was presented next. The structured movements aligning to the base of the Kavadi were showcased excellently. As the lyrics “Vaa Muruga, Vadivel Azhaga” echoed in the auditorium, Shreya & Lakshya seamlessly adapted their footwork to the changing rhythms it demanded - establishing their versatility. Moreover, Kavadi Aatam in the context of the temples is a votive offering to the Hindu deity Muruga and carrying the Kavadi is believed as an endurance test for all the devotees to receive the blessings of Lord Murugan. Shreya & Lakshya surely passed the endurance test – and that too with finesse.

As the finale, Swati Tirunal’s Dhanashree Thillana flourished with stellar choreographic embellishments. An example of this is the korvai which used alapadmam as the primary mudra. As the beautiful lyrics “Geetha Dhwani” played in the background, the usage of this hastha gently passing their ears seemed like they are literally swaying to the Geetha Dhwani! During the rhythmic face-off portion of the Thillana, we caught a glimpse of the sisters exchanging a smile. To me, THIS moment proved that Shreya & Lakshya were sisters in dance too! The recital came to a close with a traditional Mangalam.

Shreya & Lakshya enthralled the audience with their flair for the art form. And as a member of the audience, we experienced the beauty of the classical Margam in its entirety.

We wish both the dancers many more creative discoveries in the journey that awaits under the guidance of their Acharya.