Sankaranarayanan’, a group presentation based on ‘Naalayira Divya Prabhandam’ by Kalaimamani Professor Sailaja and her disciples at the Tamil Isai Sangam, reinforced the view that for this artiste, perfection remains an obsession, with originality in conceptualisation and expression.When the Saila-sudha group presented ‘Pallandu – Pallandu’ in Raga Nattai, the divinely hymn of Periyazhvar, the intricate matrix of rhythmic patterns, with well coordinated movements, brought out the vibrancy and brilliance of the exposition. This was followed by Vaiyam Thagazhiyai – Anbe Thagazhiyai, the foremost Thiruvanthadhi of Poigaiazhvar, describing the world as ‘Agal’ (oil lamp) and sea as the oil. The spirited manner of dancing, with boldly etched lines and graceful movements, swept audiences off their feet.With spontaneity coupled with excellent Bhava and footwork brought out (Aadiya Padhathai) in Raga Pantuvarali, were gracefully rhythmic. It indicated her hold on tradition. But, one thing was certain, this noted senior artiste has carved a niche for herself in the realm of dance.Thodudaiya Seviyan in Raga Revathi identifying the various aspects of Ardhanareeswara Bhavam was brought out in various moods. Emphasis was laid on emotional reactions, which was a treat to watch. One could feel the touch of classicism in Kummi and Hasthamudras in Aadiya Paadam. Moreover, the rhythmic elaborations were executed with outstanding mano Bhava. The Thillana in Raga Suruti, with creative elaboration, working up effects mainly through rhythmic variation and a cyclic pattern maintaining balance and brevity, was a treat to watch.
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