When you look at the history of classical Indian dance, you realize that from the very moment of its origins it was always meant to be an offering to either the divine or the mortal.  The goal being that through this offering one can attain mosksha or, emotional & spiritual release.

On a lovely, but chilly, fall afternoon, those who sat in the elegant Maxwell Auditorium at the National Heritage Museum in Lexington, MA were indeed transported to the very beginnings of the purpose of dance.  From the quiet but powerful voice of Gayathri Srinivasan, the emcee for the evening, to the harmonious music, to the very dance itself, one felt the power of the dancer’s need to honor her Guru’s.

Soumya, dressed in a lovely midnight blue sari with a brilliant yellow border looked stunning!  Her tall and winsome frame was a perfect match to her inner depth and grace.  Beginning with a traditional Pushpanjali in Valaji ragam she commenced her program by offering obeisance to the gods, her guru’s, the musicians and of course to the audience.   The Pushpanjali was immediately followed by an allaripu in Khanda Nadai or a five beat cycle.

Following a traditional margam, or repertoire of items in Bharathanatyam, Soumya presented a Jatiswaram in Vachaspati ragam.  The intricate patterns of the Nritta sequence, or pure dance sequences, were refreshing to watch.

Next, a Kautvam in praise of Lord Muruga was presented.  This was one of the favorite pieces of this writer, wherein Soumya did an absolutely beautiful portrayal of Muruga riding his stead, the Peacock.  One could actually see the peacock as it walked, flew and jumped.  

 The central piece of the recital, the Varnam was next.  As Gayathri mentioned, varnam means color, and stories are weaved into the lyrics as the dancer reveals her true prowess as performer and storyteller.  This varnam in Nattaikuranji, was in the Bhakthi rasa, or devotional mood, as the dancer asks Lord Narayana: that He who had come to the rescue of Gajendra, the elephant stuck in the jaws of a crocodile, who had saved Draupadi from dishonor by providing limitless clothing as she was being disrobed, can not come to her the dancer, who has submitted herself to the Lord?

Soumya’s rendition of this plea was indeed moving, and one felt the familiarity of the Bhaktha with the Lord and yet saw the deference that the bhaktha felt.  The sancharis, or stories, were interspersed with beautiful Jathi sequences, which were brought alive by Meena’s efficient Chollu Kattu’s, or spoken words, and Gaurish’s mridangam magic, which drew applause from the audience.  

There was a brief musical interlude where the soulful voice of Janani Swamy kept the audience in that realm of devotion.  Then Soumya revealed her true strength as an emotive dancer with a Javali in Kamas and a Padam in Dwijavanti.  

Soumya’s innocence in her portrayal of a Mugdha Nayika in the Javali was absolutely brilliant.  One forgot that the dancer was a wife & mother, all one saw was a young girl’s bewilderment at the reaction of those around her to her relationship with her childhood friend.   The Padam, another favorite of this writer, transformed the dancer into a Virohitta Kanditha Nayika, or the mature heroine who is suffering from pangs of separation.  One felt the pain of the dancer as she laments to her sakhi, how her beloved has neglected her.  The heartfelt singing by Janani & Bala Ramanathan further compounded the emotions of the dancer.

Finally, Soumya presented a Thillana in Surutti that sang praise of Rukmini Devi Arunadale, the founder of Kalashetra and the dance style that Soumya has mastered.

Soumya was ably supported musical by many local area artistes in the orchestra comprising of dancer/teacher Meena Subramanyam (nattuvangam), Gaurishankar Chandrasekhar (mridangam), dancer/singer Janani Swamy and Soumya’s mother Bala Ramanathan (vocal), and Karthik Balachandran (violin).  The orchestra members complemented each other so well and each became an extension of the other.  The dual voices of Janani and Soumya’s mother were perfectly matched!

The program was a real treat and it show cased the beauty of a traditional margam performed by a mature dancer – hopefully this is the first of many such performances by local area dancers.  My only regret, I wish many more young dancers were there to see Soumya perform; they would have been truly inspired!

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