Divya Shiva Sundar steals show at the Trinity Arts Festival

Divya Shiva Sundar steals show at the Trinity Arts Festival

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Chennai, Dec 11:
The term ‘Rasa’ in natya shastra always refers to the state of one’s mind at a particular time, and the message should be conveyed through different ‘bhavas’ to the audience, to understand the intrinsic meaning of the song.
Eminent dance artist Divya Shiva Sundar and her students exhibited the bhavas for the song Natana Poojai Seivom, on the third-day ( Sunday) of the Trinity Arts Festival of India-2018, being held at Rasika Ranjani Sabha, Mylapore.
The performance was organised to felicitate Dr V.P.Dhananjayan and Shantha Dhananjayan who have completed 50 years of Bharatakalanjali in Chennai. Dhananjayan started the dance school in Chennai in the year 1968.
Divya Siva Sundar has been a student of Dr Dhananjayan who is running a dance school in Thuraipakkam, Chennai. Divya wanted to perform her dance with her students Archana, Shamini, Shreya, Maithreeyi and also four more other students in the presence of Dhananjayans.
The four students on the stage with Divya had well brought out the nine different bhavas, when they danced for the song of Suddhananda Bharathi, with the stanza lines coming as Navarasa Kalai Mayanga and Kulunga as if inviting the dancing Shiva, Lord Nataraja to come and bless them.
Divya proved her talent when she danced for the Dhananjayan’s composition on Lord Guruvayoorappa with the song beginning as Mohana Krishna in the raga Mohanam. Beautiful synchronization of the song with apt bhavas of the dancer for Binu Venugopal’s vocal, accompanied by Vijesh Gopalakrishnan on violin and K.P.Ramesh on Mridangam, proved that the dancer and her students had well put their efforts jointly to win the audience at the Trinity Festival. Divya had also portrayed her bhavas for the Aalapanam Madhana Vijithi, looking around from the stage for someone. This is purely an expression of a woman searching for someone from all directions. For another stanza of the Malayalam song Kuchchayayi Oru Kumari, Divya even imitated the walk of an hunchback, much to the delight of the audience.
When four of Divya’s students attired in a particular colour dress dancing on the stage, the other four made entry on the stage in different colour dress from other directions and danced for the song, after the first set of four left from the stage. The audience praised the entry of dancers at frequent intervals on the stage and performing their portion without affecting the main song.
It is not an exageeration, when Divya without any music support, tapped with her legs while performing her dance on the stage. The tapping resembled, as if someone behind the screen telling the Jathis for the song, though there was really none. This she performed for over 15 minutes and the audience at the auditorium kept up silence watching the dancer’s leg movements. When finally the vocalist along with the their orchestra joined the dancer’s tapping tune, the audience were thrilled and Divya never missed the clap from them.
The dancer and her students danced for the Arthanaari Ashtakam commence with Shyam beya, a Javali in Malayalam and also for the song Praana naathan in Abohi ragam composed by Dhananjayan.
One could see the audience coming out of sabha with the rasa of satisfaction on their face over the performance of the Divyas’..

Ranjini Trinitymirror

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