Malavika Sarukkai’s abstract but rooted approach
The Hindu
Malavika Sarukkai used unusual visualisations to break the mould
Malavika Sarukkai can be considered a pathbreaker. Over the years, one has seen her foray into new areas in Bharatanatyam, creating narratives with tailored music and abstract movements.
Malavika’s set at the Music Academy performance had pieces that were uniquely composed and structured, but it ended with the conventional thillana, a Balamuralikrishna composition in Brindavani in adi tala. The opening ‘Nritta Kavya’ paid homage to Shiva with Sivashtakam (composed by B. Seetharama Sharma). This was followed by a ragamalika ‘Thari jham ta rita jham’ that seemed to be inspired by the Odissi pallavi. The jathis in between had different tempos, mostly brisk, using karvais to good effect. The dancer was in fine fettle, light-footed and energetic. The almost 14-minute piece was a treat with beautiful music and rhythms.
Malavika’s abstract-style Gangavataran (‘Ganga Stotram’ composed by M.S. Sukhi) was the highlight of the fairly long programme. She built a narrative about the stately Bhagirathi, flowing down Shiva’s locks and meeting with the sensuous, green Alakananda in Devprayag, and then flowing as the Ganga. It opened to a darkened stage and funereal music. Shiva had his back to us, and while the Shiva nama was sung, Bhagirathi flowed down from his head, in slow hand movements, to the beats of the tabla and chants. Here, the lights were blue on one side and yellow on the other, symbolising Ardhanariswara.