Malavika
Sarukkai
The Hindu, Online Edition 5th January 2010. Review by Leela Venkataraman
ENCHANTING STAGE PRESENCE: Malavika Sarukkai.
Performance spaces with an audience sometimes throb with palpable
positive energy igniting the dancer. So it was at the Narada Gana Sabha
with a charged Malavika Sarukkai performing. Her concept of
Shakti/Shaktiman comprising a blended package of re-visited and new
work reflected the dynamic and complementary tensions of Devi as the
vitalising life force and Siva as the primal energy in the iconic
Lingam form.
Right from the curtain raiser of Mahesha Tandavam from Balarama
Bharatam (set in Hamsadhwani by Seetarama Sarma), visualising
Nataraja's body taking on the force of his falling anklets loosened
while he danced, thereby saving the Earth the shock and causing the
first dance syllables ‘Tat Dhit Tom Nom' to emerge, one sensed a
uniquely powered performance. In a contrasting energy enveloped in
beauty, sublime grace, quietude and benediction was the portrayal of
the Devi as visualised in the Neelambari lyric, ‘Sringaralahari.'
‘Eka Lakshyaha Margam' had a pan-Indian flavour in a mix of
musical genres, the choreography comprising segments of older
productions imaging scenes on the Ganga and in Varanasi, with fresh
images. The dance choreography covering floor space tracing the
geometry of the square and circles represented the square temple space
with circling paths of pilgrims of all denominations from all corners
of India seeking to reach the still centre of the Bindu -- the Lingam
of Vishwanath.
On the banks of the swirling waters of the Ganga, Siva's iconic
representation draws hordes of seekers taking different paths with the
unified aim of reaching the one final destination. Ragas with snatches
of sahitya for the interpretative parts interspersed with nritta
interludes all converging on the still presence of Vishwanath at the
centre, which became the recurring motif, made for a plethora of tones,
integrating at one point. Murali Parthasarathy sang with feeling. One
aspect of Malavika's dance is her deep respect for silences amidst high
energy – something that a lot of dance today seems to have lost
sight of.
The tandav manifestation to destroy Evil , was Devi as
Mahishasuramardini showing the “conflict of energies, inner and
outer, positive and negative.” Here one could see that the
dancer's choreography had deliberately stretched and gone beyond the
Bharatanatyam discipline, which she adheres to very strictly.
Percussionist M.S Sukhi's rhythmic interludes depicting the battle
scene between Devi and Mahishasura, Mahisha finally destroyed in a
frozen attitude, inspired by the sculpture in Mamallapuram, the
evocative instrumental/ rhythmic “Aigiri Nandini” hymn
without the sahitya and Devi Mahatmyam verses as homage at the end,
added to an intense performance.
The dancer as the empowered Devi smoothly transformed into the ardent
devotee, to rapturous applause. The tabla interventions of Sai
Shravanam with Sukhi on the mridangam and Neela Sukhanya with the
cymbals were part of an enthused musical effort.