Tyagaraja Aradhana in Cleveland would not be complete without the Sunday evening dance programme. Each year, after three days of children’s competitions, Pancharatna kritis and back–to-back kutcheris, the festival presents a keynote Bharatanatyam programme. Past artistes have included Vyjayanthimala Bali, Alarmel Valli and C V Chandrasekhar.

This year, the committee has made a bold choice. Sujatha Srinivasan has been invited to perform at the festival. “Why bold?” you ask. “Because Sujatha makes her home in Cleveland, Ohio. She is not a visiting artiste residing in Chennai.” A talented dancer who has been on stages in India and in the US, she has been attending the Cleveland festival as a local denizen for over a decade. She and her husband, Srinivasan, are usually seen in the audience - ever ready to help visitors and artistes feel at home.

'Katradhu Tamizh' Ram's next Diwali in Suburbs Rajini Still In A Dilemma! அஜீத் பேட்டி? ராம் இயக்கத்தில் சேரன்? கமல் பாராட்டிய டைட்டில்்

She runs a dance school and trains her students with meticulous care. 2006 was the year Sujatha Srinivasan was invited to dance at Cleveland Tyagaraja Aradhana in the coveted Sunday evening slot (April 16). She was sure to present a carefully crafted programme.

Her presentation was indeed well planned and, in its execution, Sujatha displayed an adherence to the traditional Vazhuvoor style in which she was trained by guru Sri Rajarathnam Pillai. Graceful and gentle hand movements, heart-melting expressions, and strong footwork were present throughout the captivating performance. Her abhinaya was compelling. In the Azhagar Kuravanji piece - Ivan Yaaro - one could almost feel the heartache of the heroine when she realised that her lord was already the companion of another lady. In startling contrast to her soft expressions was her footwork, executing the sharpest turns and jumps with deceptive ease.

The programme began with Mallari; a piece traditionally played by nagaswara vidwans when the presiding deity of the local temple is taken in procession around the town. This was followed by Tyagaraja’s 'Maatalaadamodi Galade' in Charukesi. By this time it was clear that the programme was not going to be just a visual feast. The musicians, led by Asha Ramesh, were in this too - and with perfect sruthi alignment. Instruments and voice blended with abhinaya to lead the audience into the dancer’s world.

Asha’s bhavam was matched by R. Thiagarajan on flute and Jayashankar Balan on violin. Janardhana Rao’s lively percussion added depth and dimension to the dancer’s steady foot movements. Akila Raghavan’s nattuvangam was precise and struck the right balance between the melodies and the rhythms of the evening. Her articulate enunciation and precision were in evidence. Little Shriya Srinivasan introduced and explained each of her mother’s programme items with a steady and measured voice. Clearly a local favorite, Shriya at times garnered almost as much applause.

The Varnam was 'Dhanike' in Thodi ragam and Adi talam. This composition of Thanjai Shivanandan is a delightful piece where the sakhi, who is the persuasive intermediary between the love-stricken maiden and her chosen king, sweetly talks of her friend’s captivating beauty and steadfast love for the maharaja. The Azhagar Kuravanji song - Ivan Yaaro - in Raga Kambodhi continued the Nayaki - Nayaka theme with a portrait of a young girl who sees a handsome nobleman and falls in love at first sight.

'Shankara Srigiri' in raga Hamsanandi and 'Varugalamo' in raga Manji expounded on the glory of Nataraja, the lord of dance and the presiding deity of Chidambaram. Composed by Swathi Thirunal, the first describes Nataraja dancing in the Chitsabha. The lilting lyrics and meter of the song coupled with the dancer’s clear and resounding footwork gave the spectator an energetic depiction of Nataraja dancing in the very sanctum sanctorum of Chidambaram. In clear contrast was Varugalamo of Gopalakrishna Bharathi. Sujatha Srinivasan’s interpretation was as traditional as it was moving. The vocalist, violinist and flautist joined in evoking exquisite pain and entreaties inherent in this composition in raga Manji.

The evening was concluded by a Thillana composed by Dr Balamuralikrishna in the raga Kathanakuthuhalam and set to Adi talam. This Thillana was full of unexpected twists and turns and deft footwork. Sujatha’s unflagging energy was evident in firm footwork and the gentle and measured hand movements right through. The mangalam, chosen with care to give the orchestra one final curtain call, began with a Pasuram sung in Kedaragaula. It was followed by Tyagaraja’s homage to Lord Rama in Saurashtram, lest one had forgotten that this was the Cleveland Tyagaraja Aradhana. The Aradhana Committee should have been ecstatic. Their bold move had paid off at many levels.