28/02/2026
Our sincere gratitude to Sri Satish Suri sir for this review on our recent performance.
A MARGAM OF MEASURED GRACE
Disciples of Guru Gayathri Keshavan at Bharatiya Vidya Bhavan, Bengaluru
On January 4, 2026, the KRG Auditorium at Bharatiya Vidya Bhavan, Bengaluru, resonated with disciplined classicism and quiet devotion as disciples of Gayathri Keshavan - Shamti Ruiz Nambiar, Vaishnavi, and Bhavana - presented a thoughtfully curated Bharatanatyam margam. Conceived and choreographed under the artistic direction of Guru Gayathri Keshavan, Director of the Academy of Bharata Natyam, the evening stood firmly marked by geometric clarity, textual fidelity, rhythmic exactitude, and an unwavering spiritual core.
The recital opened with an auspicious invocation to Lord Ganesha in Kambhoji, its stately melodic contours establishing an atmosphere of repose and sanctity. This flowed seamlessly into a Tisra Nadai Alarippu, where crisp sollukattus, measured araimandi, and uncluttered lines affirmed the dancers' grounding in nritta fundamentals. The restraint and symmetry were evident, allowing rhythm and form to speak without embellishment.
An early highlight was the Durga Stuthi in Hamsadhwani, composed and choreographed by Gayathri Keshavan. Saluting the Goddess as the remover of sorrow, the choreography balanced strength with serenity. Clean, expansive movements and poised stances evoked Durga's protective power while retaining a devotional softness, reflecting the guru's aesthetic sensibility. The mood turned inward with Purandara Dasa's "Smarane onde salade", a philosophical assertion that remembrance of the divine name alone suffices. Eschewing overt dramatisation, the dancers employed restrained abhinaya to convey surrender and faith, allowing the sahitya to unfold with quiet conviction.
Anchoring the margam was the varnam "Karunai nee seyyade" by Dandayuthapani Pillai in Nattukurinji, choreographed by Gayathri Keshavan. Here, Shamti Ruiz Nambiar, Vaishnavi, and Bhavana embodied the nayika as an ardent devotee, pleading for Lord Muruga's compassion. The choreography skillfully interwove vigorous jatis with emotive sancharis. Swift teermanams and accelerating korvais contrasted with fluid torso movements that suggested trembling supplication. The dancers' mukhachalanams, precise and controlled, radiated steadfast devotion rather than despair.
Poignant narrative passages depicted viraha through upward glances that shifted subtly from anguish to hope, enriched by evocative imagery of Muruga's peacock vahana and the gleam of his vel. The fusion of sringara and bhakti rasa was sensitively handled, never tipping into excess. Technically, the varnam stood out for its crisp karanas, intricate pada bhedas, and seamless synchronisation with nattuvangam cues, underscoring the dancers' stamina, laya control, and stylistic discipline.
A compelling solo moment followed with "Bhushana bhujanga", a devotional bhajan in Brindavani Saranga set to khanda chapu tala, performed by Shamti Ruiz Nambiar. She vividly sculpted the iconic imagery of Lord Shiva - serpents adorning his body, sacred ash smeared upon his form, and the Ganga cascading from his matted locks, while Parvati stood beside him in serene companionship. With understated yet eloquent gestures, Shamti transformed poetic description into visual meditation. Her expressive eyes and nuanced abhinaya conveyed reverence tinged with shringara bhakti, leaving the hall enveloped in contemplative stillness.
The trio returned with a buoyant Thillana in Khamas and rupaka tala, bringing rhythmic sparkle and release. Lively footwork, playful korvais, and dynamic group patterns infused the piece with joy, while the lilting melody lent lightness and festivity. Even in exuberance, the dancers maintained stylistic restraint and ensemble harmony. The evening concluded with "Chatrum charmaram", attributed to Adi Shankaracharya, offered as a final act of surrender. Symbolically presenting and extending the offering to nritta itself, the dancers conveyed humility and devotion through minimalistic movement and synchronised abhinaya. The margam closed in meditative calm, leaving a lingering sense of spiritual fulfilment.
Ably supported by a sensitive music ensemble - Gayathri Keshavan on vocals, Maithreyi Barve on nattuvangam, Dayakar on violin, and Narayanaswamy on mridangam - the recital unfolded as a cohesive artistic offering. Particularly noteworthy was Shamti Ruiz Nambiar, a long-term disciple of Gayathri Keshavan, originally from Mexico and founder of Pneuma Dance, whose interpretive depth and technical finesse blended seamlessly with the assured performances of Vaishnavi and Bhavana.
https://narthaki.com/info/rev26/rev3622.html
