Nandana Nithin
Did Krishna, Rama, Shiva, Hanuman – and so many others – ever truly exist? One wonders. Perhaps they live not in history, but in the vast landscape of our spiritual imagination. And yet, through music and dance, they are made vividly, almost tangibly real. When movement, melody, and costume align with meaning and intent, these figures step out of myth and stand before us. It was this thought that stayed with me as I watched Nanadana Nithin’s arangetram at NIDA, Sydney, late last month.
What stood out during the performance were the many evocative poses of Krishna, Rama, Shiva, and Hanuman that Nandana embodied throughout her recital – often balancing gracefully on one leg, holding each form with striking poise and control. Added to these were the dramatic scenes she created with her skilful abhinaya: Krishna’s birth, Poothani Samhara, Kalinga Mardhana, the rendering of Bhagavath Geetha, and Krishna’s assurance to us as “Yadha yadhahi dharamsya glanirbhavathi Bharata, Sambhavami yuge yuge.” [Whenever and wherever there is a decline in righteousness (Dharma), O Bharata (Arjuna), and a predominant rise of unrighteousness – at that time I manifest Myself on earth.]
Turning to the Ramayana, we witnessed Lakshmana drawing the Lakshmana Rekha around Sita, the episode of Sita Apaharana, Jatayu’s valiant struggle, and a playful, humble Hanuman dancing about – to name just a few of the many moments brought to life.
Bharatanatya is a seamless blend of abstract nritya and expressive abhinaya, and Nandana excelled in both. Throughout the recital, she was given ample scope to showcase her command of mudras and the nuanced movements of the neck, eyes, and limbs through intricate jathis. She moved with striking agility across the stage – in one moment poised in a corner, and in the next, fluttering elsewhere like a butterfly.
Nandana started her recital with the usual Pushpanjali, ending in Kamakhya Shlokam. With brilliant footwork she showed that she has learnt the art well and compelled us to join her in her journey.
The next item, addressed to the Lord Muruga and set to Shanmugapriya raga, was enlivened by the majestic vocal rendering of Balasubramanya Sharma. Words, rhythm, music all worked in unison towards a unique experience for the audience. It ended in a visibly grand finale. The item Ras Leela, portraying love between Radha and Krishna also provided such an experience.
Varnam is the piece where the dancer is tested for his or her stamina, imagination, craftsmanship and dance skills. The item chosen was Krishna portraying various aspects of his personality – stealing butter as a child, killing demons, as lover for hundreds of gopikas, driving the chariot for Arjuna (Partha Sarathy) and giving an assurance to mankind that He will preserve Dharma and righteousness in the world. It appeared as if the chosen raga Reethigowla was created for Him. Throughout this number, which took almost 45 minutes, Nandana exhibited her craft in pure dance as well as abhinaya.
In Pradosha Samayadi, Nandana took on the role of Shiva with remarkable control and intensity. A striking moment was her sustained wink, held steadily for over two minutes. She followed this with a sequence of thirty-two uninterrupted poses of Shiva, all performed while balancing on one leg – a testament to both her stamina and precision.
The performance also included a Thillana (in Athana Raga), the enchanting Pibare Ramarasam, and concluded with Managalam.
At the conclusion, the 19-year-old debutante Nandana Nithin, a student at Macquarie University, expressed quiet satisfaction of having achieved something significant – a true milestone in her dance journey. The audience, too, felt they had spent an evening well, and offered warm appreciation and blessings to the young artiste.
Nandana, the daughter of Sandhya Sugathan and Nithin Salgunan, is a student at Manjula Viswanath’s Rasika Dance Academy. Founded in 2001, the Academy has now completed 25 years of dedicated service to dance, nurturing numerous students while also extending its support to a range of charitable causes. It is heartening to note that twenty five of its students had completed their arangetrams and salangai poojas. Recipient of various awards, Guru Manjula herself has given over one thousand performances all over the world.
Nandana’s performance was supported by a team of musicians. The Bangalore-based Balasubramanya Sharma, most sought after, provided vocals – which at times reverberated in the auditorium and heightened the dance experience. The most essential mridanga support was given by the locally generated talent Janakan Suthanthiraraj, who seemed to enjoy himself, cleverly changing the tone of playing to suit the mood. The multi-talented Jeiram Jegathesan played the ghatam, morsing as well as the rhythm pad. He excelled in the Varnam with his haunting Morsing background. Venkatesh Sridharan played the flute melodiously, also presenting a solo item. Guru Manjuala gave a varied nattuvangam. She choreographed every item in the recital. Impressive lighting enhanced the experience, and the charming Sangarika (Manjula’s daughter) did an outstanding job as the MC.
Nandana’s family had made excellent arrangements for the event which included refreshments in the beginning, and dinner during the interval.
Read Also: Gayathri’s Vaishnava Janato: where devotion, dance and storytelling meet
