Aniruddha Knight’s lineage is so deeply ensconced with bharata natyam, the classical India dance form with roots in ancient temple traditions, that his skills appear preternatural. Complemented by his impressive stature and long limbs, his dancing approached hypnotism Nov. 11 in Crowell Concert Hall. Knight was accompanied by T.R. Moorthy on the flute, Vidya Sankaranarayanan and Usha Shivakumar on vocals, and his father Douglas Knight on the mridangam (a double-sided drum).
The technique of bharata natyam calls for exact, stylized movements that are exaggerated by facial expression. Knight executed his entrance with sharp heel-to-toe strides. For the Alarippu, a sort of salutation and exposition, Knight danced without the copious mimicry of the rest of the performance; the segment is performed more for ritual purposes than entertainment. It is a glimpse of the history behind bharata natyam as well as a means of preserving it.
“Samini Ramanave” had Knight interpreting the story of a girl complaining of her Lord’s indifference to her. The lyrics, provided in the program, provided a convenient guide to understanding Knight’s reenactment through dance. His character’s plaintive tone is conveyed through pleading eyes and outstretched arms. Knight’s hands also convey the girl’s story through gestures. Though they may literally translate into ‘lotus,’ or ‘half-moon,’ for the purpose of the dance the gestures can be adapted to fit the story’s message. When Knight had to portray Lord Brihadeeswara, the girl’s amour, Knight used his hands with bravado to suggest majesty and strength. His theatrical portrayal of the girl as well as Lord Brihadeeswara demonstrated the importance of dramatic talent and physical ability in the dance.
Because it was the longest piece of the night, “Samini Ramanave” best showcased Knight’s gifts as a dancer. In the moments where the tala, raga and dance synchronized at a frenetic climax, Knight’s rapid-fire steps were a visual wonder. He alternated loud pounds and inaudible steps to accent the music in a tightly choreographed collaboration between Knight and the musicians, in effect making his feet veritable percussive instruments.
Padam (poetic love songs) account for the emotive mimicry so closely associated with bharata natyam. In the first padam of Knight’s performance, he captured the attitude of a woman who catches her lover with another woman. While “Knight Sr.” read the poem’s text, Knight the younger performed deliberately slow movements to demonstrate the interpretive uses of gesticulation and facial expression. When the woman told her lover “My heart has cooled,” Knight mimed the act humorously, appearing to drink a cool glass of water coyly. He fanned his chest smugly, conveying the woman’s delight in having caught her. After the brief enactment of the storyline, the actual dance that followed was illuminated for the audience, now privy to the meaning behind Knight’s actions. Without the guide, audiences not familiar with bharata natyam might miss the relevance of the poetry within the dance.
“In a sense it’s like you don’t really pay attention to the context because you’re enthralled by parts of the body you don’t usually pay attention to, like wrists and hands,” said Justin Denis ’09, who was in the audience.
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