Aparna Mohan. | Photo Credit: Akhila Easwaran
Aparna Mohan’s Bharatanatyam recital, though rooted in tradition, had a freshness to it. Hailing from Thrissurand trained under gurus, Shafiquddin and Shabana, Aparna presented a well-structured recital, which was a part of the Natyarangam monthly series.
She began with a Ganapathy stuti in raga Tilang and Adi tala, a composition by Agathiyar titled ‘Prabho Ganapathe’. This opening piece was performed with clarity in footwork and composed expressions, setting a devotional tone for the evening.
The central piece of the evening was the varnam, ‘Sakhiye indha velaiyil’, in raga Ananda Bhairavi and Adi tala, composed by the Thanjavur Quartet. This composition depicts a nayika’s yearning for her beloved Lord Rajagopala of Mannargudi. Aparna portrayed the conversation between the nayika and hersakhi with convincing expressions. Particularly notable was her subtle use of eyes, conveying love, longing and impatience. The sancharis (narrative sequences) were brought out with clarity, especially when she compares her sakhi to a peacock or when she is struck by the arrows of Manmatha. Her footwork was well-paced and confident, providing rhythmic depth without overwhelming the emotive aspect of the performance.
Aparna Mohan portrayed well the angst of a maiden longing for Lord Nataraja. | Photo Credit: Akhila Easwaran
Next came the padam, ‘Theruvil varano’, composed by Muthu Thandavar in raga Khamas and Rupaka tala. This evocative piece allowed the dancer to delve deeper into the realm of abhinaya. As a maiden longing for Lord Nataraja, her expressive storytelling stood out. The moment when she imagined the Lord standing at her doorstep whispering secrets was delicately portrayed. Her hand movements were soft and precise, and the subtle changes in expression effectively captured the transitions from hope to frustration and, finally, acceptance.
Aparna concluded her recital with a vibrant thillana in raga Dhanashree and Adi tala, a composition of Swati Tirunal. This brisk piece provided a fitting end to the performance. The choreography showcased neat rhythmic patterns, while her costume and jewellery added to the visual appeal. The nattuvangam support kept the rhythm lively.
SOURCE: THE HINDU
