Love, Actually: In Five Arrows.
Christopher Gurusamy’s 5 Arrows is a work of extraordinary precision and emotional clarity. Rooted deeply in the traditions of Bharatanatyam, 5 Arrows is a vivid demonstration of classical Indian dance’s ability to function as narrative architecture. Choreographed and performed by Gurusamy and performed as part of Sydney Dance Company‘s INDance 2026, he proves himself not only a formidable dancer, but an artist with a deep understanding of the form’s expressive language.
Gurusamy’s command of Bharatanatyam technique is strong. His aramandi (foundational) stance remains unwaveringly grounded, lending the choreography a striking geometric clarity, while every mudra (hand gesture) is articulated with meticulous detail. The cleanliness of his lines is disciplined, his eyes are alive with intention, and his feet strike rhythmic complex patterns. Gurusamy uses technique as emotional text, allowing rhythm, gesture and expression to reveal character and conflict.
What makes 5 Arrows most dramatically engrossing is Gurusamy’s use of Bharatanatyam as a storytelling medium. He handles the dance form’s blend of nritta (pure dance) and abhinaya (expressive storytelling) with intelligence. In passages of intricate footwork, there is an undercurrent of tension and propulsion; in quieter moments, his smallest shift of gaze or tilt of chin or tremble of lip communicates volumes. Gurusamy understands that Bharatanatyam’s storytelling power lies not in realism, but in suggestion.
His choreography also captures the restraint and intensity at the heart of Bharatanatyam. Sharp rhythmic sequences explode into fluid transitions, while sculptural poses dissolve into moments of vulnerability and longing. Gurusamy finds contemporary immediacy within the form’s ancient vocabulary, crafting a technically accomplished performance.
Christopher’s pick for the evening is Mohamana Varnam, an iconic composition from the early 19th century by one of the famed Tanjore Quartet (the brothers who elevated Bharatanatyam to an artform performed in temples and royal courts).
At its core, Mohamana is about desire – longing for a loved one after separation. Whether that beloved is human or divine is deliberately ambiguous; it is the emotion that matters. The piece traverses the full spectrum –abashment, coy playfulness, flashes of anger, the sweet sorrow of parting/abandonment, ecstasy in ultimate fulfilment.
Here, love begins at the tip of an arrow, much like Cupid’s. But there are five arrows, each tipped with flowers, each striking one of the senses until the entire being is consumed with love. This is a love that moves beyond the physical, believed to offer spiritual strength, and a heightened state of consciousness.
And in that final moment – standing illuminated under five arclights, enveloped in bliss – one is left wondering: could Christipher have done this better?
Crucially, Gurusamy performs with an unmistakable sense of conviction. Every movement appears fully inhabited, every phrase connected to a larger dramatic intention. The live music ensemble – Arjunan Puveendran on vocals, nattuvangam by Ranjeev Kirupairajah, veena by Saumya Sritharan and mridangam by Lojen Wijeyamanoharan – support him well in this endeavour
Ultimately, 5 Arrows is a production of immense sophistication and beauty. Through technical brilliance, choreographic intelligence and a deep respect for Bharatanatyam’s expressive traditions, Chris Gurusamy has created a work that feels both timeless and urgently alive.
