Sharanga Satchidanandam
The path of love is rarely smooth, especially when it is one-sided. More so when a girl falls in love with the man of her dreams without ever having met him. Longing takes her through alternating moments of agony and ecstasy.
But when the beloved is God, that same love becomes bhakti, and reaching the beloved becomes sakshatkara – divine realisation. In the Hindu devotional tradition, this intimate relationship with the divine is recognised as sakhyam, one of the Navavidha Bhaktis, or nine forms of devotion.
Sharanga Satchidanandam’s dance recital, Velavane, at the Bryan Brown Theatre, Bankstown, on August 16, cleverly captured the shifting emotions of a girl – or devotee – yearning for her beloved Velavan, or Lord Murugan. It was an evocative journey, with not a dull moment. Her expressive dance, majestic live music, pleasing stage effects and lighting combined to make it a memorable evening.
It began with a commanding vocal introduction by Ahilan Sivanandan, before the heroine emerged as a devotee of Lord Murugan, the presiding deity of the Nallur Kandaswamy Temple in Yazhpaanam. Her devotion is deep and earnest, expressed through her daily visits to the temple. In the opening item, Singara Velavane (Raga Thillang), we learn that her adoration of Murugan began in childhood. Now a young woman, that innocent devotion has deepened into a yearning to draw ever closer to Him.
The heroine’s love and longing came vividly to the fore in the second item, Ananda Natanam (Raga Hamsanandi). Rich in abhinaya, it conveyed another dimension of divine love: yearning for the beloved brings not only longing, but also profound joy.
In the following piece, Ma Moha Lahiri, an expansive Varnam in Raga Kamas, Sharanga vividly conveyed the heroine’s plaintive thought: even the mayura (peacock) spends more time with you – why won’t you come to me?
The piece showcased the breadth of Sharanga’s dancing skills, blending abstract nritta with expressive abhinaya. Using the full length and breadth of the stage with effortless ease, she responded deftly to the lyrics, nattuvangam and kalpana swaras. Rajeev Kirupairaja’s delivery of the nattuvangam was a particular treat. Ultimately, the piece became an invitation into the heroine’s inner world, where desire, devotion and vulnerability intertwined.
Unable to achieve her goal the heroine begs the assistance of her close friend, a Sakhi, in the next item, Arul Seiyya Vendum Aiyya (Raga Rasika Priya), meaning, My Lord, Muruga, you must shower your grace on me. Sharanga as the heroine outpoured her feelings with a friend, exhibited all the shyness, anxiety, despair, and anger that a lover goes through.
But the heroine did not give up so easily. She now enlisted another messenger – the kuyil, a bird known for its sweet song – in the next item, Kuyile (Raga Yaman Kalyani). Rendered without a rhythmic framework, the piece was performed with appealing delicacy.
The long wait finally ended with the Thillana in Raga Thilang, as the heroine was at last united with her beloved. Their dance together conveyed a sense of attainment and fulfilment, with all the rhythmic vitality and grace characteristic of a Thillana. Interestingly, the piece incorporated many of Lord Muruga’s vahanas – the peacock, snake, swan and horse, as well as the Kailaya Vimanam.
Nearly two hours of non-stop dance then drew to a close with the Thiruppugazh, Uruvai Aruvai.
The recital had all the elements of a traditional performance but was given greater cohesion by a unifying narrative that carried the dances towards a clear resolution. The live musical accompaniment was equally accomplished. Ahilan Sivanandan provided masterful vocals, with Lojen Wijeyamanoharan offering the essential mridangam support. Jathushan Jeyarasa on flute and Maiyuren Srikumar on violin were equally impressive, while Rajeev Kirupairaja’s nattuvangam drew particular appreciation from the audience. All the dances were choreographed and composed by Sharanga herself.
Sharanga’s dance journey began at the age of five, culminating in her arangetram in 2018. Since then, she has remained deeply involved in the art form as a dancer, choreographer and director, contributing to numerous dance productions.
Also welcome at this event was the absence of lengthy speeches, barring a formal welcome and vote of thanks, with the event starting and finishing on time.
The recital doubled as a fundraiser for the Shivan Arul Foundation in Sri Lanka, raising an impressive $8,500 for the cause.
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