Samson’s customary Christmas offering for Sri Krishna Gana Sabha, Chennai, was an inspiring show of artistry embodied in a series of ensemble choreographies that explored innovative dimensions of movement, using the traditional vocabulary and structure of Bharatanatyam. Presented by her dance group Spanda, the recital covered the entire spectrum of dance compositions, from abstract nritta to narrative-dominated pieces. The unusual treatment of time and space, the beautiful colour combinations of the costumes in pink, purple, magenta and peacock blue, and the soul-stirring music compositions by O.S.Arun and Madhup Mudgal, were but points of reference in the harmonious whole.

The synchronisation of the group was impressive, but more remarkable was the choreography that brought home the many exciting possibilities available within the existing framework of the dance idiom. The movements were adaptations from the classical adavu structures, with few departures like the brahmaris and the chouk positions, performed in a rather deliberate manner, sort of like taking each movement to its logical conclusion. There was a certain minimalism about the movements that gave it a meditative quality, the subdued-ness also reflected in the sombre lighting and in the starkness of the dancers’ ornamentation. The beauty of the chiselled movements evoked images of statues come to life, an understated elegance that vibrated with intensity. A significant detail was the democratic structure of the dance choreography, where no visible hierarchy existed; Samson was just one of the group.

The presentation stood out for its excellent production values particularly regarding the dancers’ professional manner during their numerous entries and exits. The lighting design was brilliant, but for the brief interludes when the stage seemed swathed in shadows. The music system and recording was also excellent. The dancers were Kapil Sharma, Jinshanshan, Preethi Athreya, Sawani Mudgal, Aditi Rao and Leela Samson.

The almost full auditorium was witness to the spectacle where music dominated the show, and the novel themes expounded conveyed an exceptional stylishness. There was a harmony of purpose in the exploration of the five jaathis in the 45-minute ‘Mathrika’ piece that took the shape of distinct geometrical patterns highlighted in each of the segments, at varying speeds and levels in a complex composition that the well-rehearsed dancers presented with ease. The dancers rose to the challenges of intricately interlaced movements requiring split second timing, perfectly co-ordinated throughout. O.S.Arun’s magnum opus in ragamalika, sans sahitya, was a harmonious blend of vocal and instrumental melody, and the choreography was particularly sensitive to every nuance in the music. However the lengthy piece did lead to moments of tedium, its serenity notwithstanding.

‘Akash,’ an ode to space, with verses taken from the Rig veda and from Buddhist literature, conveyed its essence through the sahitya and the body language of the dancers, the face remaining passive. Another example of Samson’s innovative approach was in the well-known javali, ‘Marubari’ in Khamas ragam, composed by Dharmapuri Subbaraya Iyer and sung beautifully by Dr.Vasanthi Krishna Rao. However, one had reservations with the idea of abhinaya, a highly individualistic interpretational art, being presented as a group piece with the necessary uniformity that is contrary to the very essence of abhinaya.

‘Charishnu,’ a dance of the joy of journeying, composed by Madhup Mudgal and sung by the Gandharv choir, was a celebration of movement, but the unspoken tension of the dancers robbed it of its exuberance. The standards of choreography and precision of the dancers, of course, told their own tale of perfection.