Sangamam 1 opened with a joint Pushpanjali and Mangalacharan, where the Tribhangi found its match in the Araimandi. An added twist of Ragamalika and Talamalika drew the audience into a rarified artosphere.
As if to accentuate the most visual of differences in the two styles, Vidhya chose to perform the Ardhanari in Revathy ragam set to a fiery Khanda Chapu as the next piece: The tandava-like blasting footwork of BharataNatyam contrasted with the lasya of Parvati, evocative of Odissi.
Next was Dasavataram with both dancers donning alternate avatarams; a piece whose length and depth were suitable to bringing out the distinct finer nuances and similarities between the two dance-forms.
Bonsi Tej was a lilting search for the divine, with Asako Takami as the gopi yearning for Krishna. He was definitely brought to life in the next piece performed jointly by the artists in Jayadeva's Saki He. Meragadu Ichi Rara by Vidhya was later, a chastising of Krishna for neglecting her friend who lies suspended between the agony of waiting and the anticipation of romance.
Watching both artists perform Thillana was truly a moksha delivering experience for the audience. Set to Kadanakootuhalam raga and Adi thalam, this was a fitting finale to the drama of Sangamam.
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