On Saturday July 15 2023 Sanjula Jakati, student of Smt Sapna Krishnan, gave an amazing performance on her arangetram in front of a fully-packed audience. Sanjula engulfed the audience from the get-go with a graceful Pushpanjali and striking Narsimha Kauthuvam. The dancers' excitement in showcasing the divine artform of Bharathanayam was prevalent throughout the performers' repertoire. Kanchadalayadakshi drew a beautiful comparison to the elegance of an elephant’s walk to goddess Lakshmi. The performance itself, a community effort with the seraphic embellishments by the musicians. The Ensemble included Guru, Smt. Sapna Krishnan, on Nattuvangam, ‘Sangeetha Ratna’ Sri E P Sudev Warrier on the Vocal, Sri Nagarajan Shanmugalingam on Mridangam and Rhythm pad, Sri Ramani Thiagarajan on Flute and Sri Anandhu Lal on Violin.

 Sri Sudev Warrier, a long time member of the Lasya family and talented vocalist who has accompanied several playback singers including K.J. Yesudas and S. P. Balasubramaniam, as a specialist Sound Engineer, flawlessly switched between over ten different Ragas, allowing the audience to resonate with the dancer's actions and emotions. Sri Nagarajan Shanmugalingam, who has worked with several top artists in the fields such as Adyar K Lakshmanan, Padmabhooshan c.v. Chandrasekar, is a one-man show himself. Sri Nagarajan Sir adorned each and every segment of emotion and rhythmic footwork, two critical pieces of Bharatnatyam.  Sri Thiagarajan, who was, lead Carnatic flutist for Pandit. Ravi Shankar's National Orchestra melodiously enhanced Sanjula’s dancing throughout the performance. Sri Anandhu, a recipient of the Yuva Kala Bharathi Award in violin and the Rangamannar Kalanidhi award and new member to the Lasya family enriched the ensemble with the talent in his fingertips dancing up and down the strings of the violin. Guru, Smt. Sapna Krishnan on the nattuvangam supporting the dancers footwork and Talam and verbally incantating the rhythmic Jathies throughout the performance serving as the glue connecting the dancer to the musical ensemble.  

 Tailored specifically to Sanjuala as a dancer, the repertoire included the nine navarasas and undertones of each as well. The Kapi Varnam, carefully pieced together by Smt. Sapna Krishnan, encapsulated the audience with beautiful and creative choreographies for each of the stories demonstrated by the dancer. Sanjula showed the audience Krishna’s love for Sudama and eagerness to meet his friend after many years even though Krishna is a king and Sudama is an aging man trying to feed his family. Next, Sanjula skillfully depicted Krishna’s divine birth and heroic act of lifting the mighty Govardhana mountains to protect the villagers from the relentless rainfall. The dancer tirelessly brought to life Krishna’s triumphant defeat of the venomous serpent Kaliya through a powerful dance right on top of the serpent’s multiple hoods. 

The next piece, Om hreem, in Ragamalika and Talamalika had a colorful balance of Devi in all her forms. From the beautiful Rajarajeshwari to the powerful Ardhanareeshwara and nurturing Annapoorneshwari, a compilation of verses from each Ashtakam communicated a mastery of skills in Abinaya from the dancer. Sanjula depicted the harmonious blend of feminine and masculine energies and then rapidly switched to Durga on the lion as the divine feminine herself.  

Sanjula shifted to the softener notes of Bharathanatyam in Krishna Nee Begane Baro as she gracefully moved across the stage showing the saint Vysarayaru’s deep devotion towards Krishna, and then Krishna himself as playful and pensive. Sanjula enraptured us all with her rapid changes in disposition and expression, taking on a Shiva Tandava as her next piece. Pradosha Samayadi transported the audience to the mountains where Lord Shiva, commences his cosmic dance of creation, destruction and transcendence. Harnessing rhythmic footwork, specific beat patterns and multiple descriptions of the Lord Shiva, Sanjula showcased the picture of controlled grace and might as she sprung across stage with a beaming smile from start to finish. 

The four row Salangai are a prized possession to every dancer and they symbolize growth of the dancer and trust from the Guru. Sanjula’s feet adorned with her hard earned Salangai resonated throughout the stage as she returned one last time for the Bhar Thillana and Mangalam. Sanjula’a precision in her movements and rhythmic accuracy was the epitome of a mature and blossomed dancer. 

Sanjula’s ownership of the stage and maturity in her expressions and movement embodied the dedication and hardwork by both Guru Sapna Krishnan and the dancer. I, along with the memorized audience were awestruck by the remarkable performance Sanjula so clearly poured her dedication and tireless effort into. 

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