The legendary dancer T.S.Balasaraswati once likened the Bharata Natyam Recital to a temple. The traditional Margam (sequence) of the Bharat Natyam- from Alarippu, to Shloka (hymn) she said, “reveals the spiritual through the corporeal… We enter through the Gopuram (outer hall) of Alarippu, cross the Ardhamandapam (half-way hall) of Jatiswaram, then the Mandapam (great hall) of Shabdam and enter the holy precinct of the deity in the Varnam…"

While following the Margam sequence handed down by the great Tanjore Quartet, Joyce K. Paul’s Arpan Dance Ensemble took us into the inner sanctum through a slightly different route: the customary Varnam was replaced by an ambitious original piece called Kala Prayanam. The journey was worth it.

The beginning Alarippu (The Flowering) is a dance that never fails to excite with its stunning symmetry and detailed flowering of the dancer’s body and energy. Joyce’s student Raji Harikrishnan took on the daunting task of arranging Alarippu for nine dancers! The youngest, Meera Srinivasan, performed the traditional Alarippu, while the others around her danced variations on the theme. Kudos to Raji on this valiant effort: the resulting presentation had some merit though it could have used a little tweaking.

The Jatiswaram in Ragam Vasantha showcased Swaroop Rane, Megha and Veena Arun. Though dancing at different levels of accomplishment, the trio was remarkably in unison. Their dhristi (gaze) and stances were excellent. One of the dancers appeared to be working on improving her footwork. She needs to feel the taala and laya with her whole body.

The Jatiswaram in Saveri focused on dancers Bindu Pillai, Girija Bhagvatula and Raji Harikrishnan. No attempt had been made at group choreography: it was, in effect, three solos performed in unison and looked beautiful that way. In spite of small slip-ups such as dropped shoulders and chins, the dancers explored the Jatis (time divisions) and Swaras (note patterns) admirably through their Nritta (pure dance). The teaching skills of their Joyce Akka were perceptible in their moves.

Next on the Margam was a Shabdam. For the first time in the evening, we saw Abhinaya (emotion through mime) intertwined with Nritta (pure dance.) Performed to a Ragamalika (a garland of three melodies), the Shabdam alternated pure dance with a devotional song telling stories of Lord Krishna’s childhood, and the adoration held for him by his mother and her contemporaries. The Sancharis (dance sequences) composed by Joyce, were ably performed by Bindu Pillai, Girija Bhagvatula and Swaroop Rane. Each dancer had her particular forte: Swaroop, a charming stage presence; Bindu, a talent for expression; and Girija, excellent form.

 

The centerpiece of the evening was the Kala Prayanam which took the place of the customary Varnam. Composed two years ago for the Northwest Folklife Festival, Kala Prayanam featured thirteen dancers and was “intended to communicate how life itself is a journey – at times random, at times fixed, at times fluid, at times firm”, according to the program notes.

Joyce Paul describes Kala Prayanam as “a journey in time and space”. Beginning in a slow tempo the ideas become progressively complex: dancers step simultaneously to different time divisions and yet remain in harmony. Similarly space is explored both vertically and horizontally: vertical leaps are layered with low ground stances. Dancers move at varied angles, showing side views, front views and back views. The choreography takes its inspiration from classical Bharata Natyam as well as tribal traditions.

The piece is performed to a Sargam in Raga Bageshri, composed by Seattle singer Arijit Mahalanabis. His song lends itself well to variation and elaboration but needs a little more luster in its Mukhda (beginning phrase). Musical accompanists Gaurav Chanda (vocalist), Mausam (tabla), and Satyajit Limaye (flute) gave a good account of themselves. Though the music was in the Hindustani style, it combined seamlessly with the Karnatak dance. Joyce Paul’s konnukol recitation had an exciting edge to it.

Sunday’s Kala Prayanam spread its wings and took off like a Bach Fugue, building movement upon movement, time cycle upon time cycle, notes upon notes. Arpan’s director must be congratulated on three counts: 1) her creative conception and choreography; 2) for winning the dedication of so many students, and 3) for extracting such good performances from them. The occasional fall did not detract, especially since the dancer rose and continued with her performance like an Olympic ice skater.

The half-hour dance drama, The Lion King, choreographed by Joyce Paul’s students, did not deserve its pride of place as the program finale. While the exuberance of the students was infectious, the sudden change of style shattered the mood built up earlier in the evening. A shorter piece in the Bharata Natyam style would have been a better choice for a creative assignment.

 

The program notes were helpful, but neglected to give the credits for the recorded music. Lighting was adequate. As for costumes-- it was a pleasure to see the tasteful, color-coordinated mini-saris that are typical of Kalakshetra.

* Arpan: Sanskrit for Offering; Ehsaas: Urdu for Realization.