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Mahima George Bharatanatyam Arangetram - Report Dt. July 19, 2017 An Inimitable Arangetram - Neha Nataraj Introduction I have been to many Bharatanatyam arangetrams, but Mahima George’s arangetram on July 15, 2017 in Jewish Community Centers of Greater Philadelphia, PA was unique of those I have attended. Almost every dance was choreographed by Mahima’s Guru, Viji Rao in this arangetram. Additionally, Mahima’s guru, Viji Rao, skillfully and seamlessly incorporate Mahima’s own faith, Christianity, into her recital. The stage was set simply with decorations, including a centerpiece of Jesus residing in the back center of the stage, watching over and blessing Mahima as she performed. The front right of the stage, where Nataraja is usually placed alone as the dancer offers her prayers, now exhibited Mary and Jesus on either side of Nataraja. Report Mahima began her show with a medley of Praveen D. Rao’s Pushpanjali in Amrithavarshini raga and a Mallari dedicated to the god Ganesha, asking his blessing for a successful recital. She entered in a bright orange and purple dress, lighting up the stage, as she danced in crisp yet graceful movements. This was followed by a devotional song praising Jesus called “Deeva Nin Saniddh,” composed by Soby Chacko, a very melodious and lively number in which Mahima maintained her vitality and elegance. She used facial expressions to convey her delicate yet intense devotion to her god. At the end of the piece, she caressed an idol of Jesus placed on the front of the stage, then picked him up and ran off the stage, adding an element of surprise and endearing humor. Next, Mahima performed a complex Alarippu which contained a combination of Thrishra and Mishra jathi (three beat and seven beat cycles). Viji Rao never fails to surprise her audience by adding unexpected and creative twists to the unadorned classic nritta piece. Mahima presented it with poise as she moved around the stage rapidly and nimbly, her bright face and smile lighting up the stage. Saveri Jathiswara in Roopaka tala, composed by the Tanjavur Quartette, followed Alarippu. Mahima persisted with vigor as she performed this piece of pure nritta. Despite the strength and crispness visible in her mudras and core, she maintained an agile, almost delicate, presence on stage. The Jathiswara ended with three poses executed with perfect precision, each more beautiful that the one before it. After Jathwiswara, Mahima entered the stage in a beautiful dark blue costume to present the centerpiece of her arangetram, the epic “Dashavataram,” composed by Udumalaippettai Narayana Kavi and choreographed by Sridhar and Anuradha. Her stamina was displayed as she depicted the ten avatars of Vishnu with grace, clarity, emotion, and strength. The description of each avatar was set to a different raga to embody and bring out the essence of each. From the grand entry of Vishnu, reclining in the heavens, to the ferocity of Narasimha, to the awe and submission of Mahabali at the sight of Vamana’s true identity, to the strength of Parashurama, to the softness of Sita, to the motherly warmth of Yashoda, to the climactic aggressiveness of Kalki, Mahima embraced the roles of each character and depicted them with abundant emotion and power. Her graceful execution of this beautiful composition left her audience amazed. After a brief intermission, Mahima twirled onto the stage in a bright pink costume as she danced to “Bho Shambo,” Swathi Tirunal’s beautiful and popular composition in Revati. Through her bold, commanding movements and facial expressions, Mahima brought out Shiva’s powerful personality. Her three ending poses were again fantastic and unfaltering in their precision. Next, Mahima danced to a composition by Father Paul Poovathingal in the raga Hindola. She expressed delicate emotions of bhakti (devotion) through her facial expressions as Jesus is portrayed as playing the strings of a tambura. At the end, Mahima performed an aarti to Jesus accompanied by the chiming of a church bell. It was indeed a beautiful prayer to Jesus and a celebration of music. In an energetic finale, Mahima flew onto the stage in an aqua-green and blue dance costume for a thillana in the raga Shiva Shakthi composed by Nagamani Srinath. Her fast, sharp movements, interspersed with delicate poses, were the source of extreme admiration and appreciation for her audience. The thillana was immediately followed by concluding mangalam during which she thanked her audience, her musicians, and her guru. Without her accompanying musicians, Mahima’s arangetram could not have been a success. Mr. Ajay Warriar brought the compositions to life with his honey-like voice. The complex beats of the mrdangam were flawlessly played out by Mr. Bhavani Shankar. Mr. Thevarajah Mylvaganam drew out beautiful gamakas on his violin. Guru Viji Rao effortlessly recited the fast jathis of the nattavangam throughout the recital. This very special orchestra maintained a dynamic balance throughout the show, complimenting Mahima’s dancing. Instead of accepting gifts, Mahima requested her guests to donate to Temple University Hospital Neonatal Intensive Care Unit, and she will be contributing $1000 to them. Mahima’s guru, Viji Rao, was instrumental to her development as a dancer. Her loving supervision has helped Mahima grow into a wonderful performer, and Viji’s extremely unique and creative choreography helped bring out Mahima’s skills and faith. Mahima has blossomed into a marvelous dancer under the guidance of Guru Viji Rao, and her charming and unique debut performance keeps her audience eagerly awaiting many more of her performances in the future. Contributor is Neha Nataraj, a PhD student who is herself a Bharatanatyam dancer. Key words: Arangetram, Mahima George, Neha Nataraj, Viji Rao, Bharatanatyam,Philadelphia, August 2017, 0817-5-R1 **A Worldwide Indian Classical Dance Report Support - Bhavanvitha ******* |