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Photos: N.Sridharan

Colourful: Malavika Sarukkai

Simple adavus and chiselled movements reflect a minimalism in Malavika’s approach that also has a unique starkness in it. It can be stylish and understated as it was in the opening piece on Krishna’s beauty from Krishna Karnamrutham and in the following ‘Ras Leela,’ that was easily the highlight of the evening. Based on the Bhagavatham and tuned by Seetharama Sharma in ragamalika, Adi talam, Malavika captured the devoted gopis who lose themselves in Krishna. It was a colourful portrait awash with the colours of a dense forest and of frenzied dancing on a full moon day. And suddenly, the mood switched to a devotional plane through a series of friezes, the very contrast of movement and stillness conveying intensity.

In a sense one felt that Malavika allowed the music to take centrestage after this remarkable piece. The following ‘Bhadon Me’ and ‘Bhavayami’ were nowhere as close, the dancer relying on the bhava in the music to do the talking. Malavika’s vocalist, the young collegian Vasudha, did not disappoint and her clear, strong voice wowed the audience. Srilakshmi, on the violin, was a melodious contributor while Neela Sukanya (nattuvangam), and M.S.Sukhi (mridangam) were sharp with rhythm.

In the last couple of years, Alarmel Valli has cut the frequency of her appearances at least in Chennai, but this scaling down has in no way impacted her enthusiasm or her agility. Valli’s charm is her biggest asset and it coats every facet of her dance and demeanour. She is also blessed with a small and compact, pixie-like frame that naturally complements this.

Alarmel Valli.

In Kalakshetra too, Valli charmed her way through the programme, through the obeisance to the Sun God, through the Shankarabarnam varnam, ‘Swami Ki Samaanam Yevaradi’, through the Begada padam, ‘Yarukkakilum Bhayama’ and through the closing Nrittalahiri in Abhogi ragam, Adi talam. The approach emphasises the joy of dance, almost like a celebration of life. One is drawn into the circle of exuberance and one enjoys the moment, be it a fast-paced step or a glimpse of a heroine suffering the pangs of separation. But it remains just that — the joy of the moment.

Supported by a strong orchestra, with Latha Ramchand (vocal), C.K.Vasudevan (nattuvangam), R.Hemanth (mridangam) and N.Srinivasan (flute), Valli’s items were musically rich. The charana swarams especially were delightfully rendered and one felt the adavus mirrored the musicality.

The concluding Nrittalahiri, whose music was composed by Valli, had a dramatic and unusual entry where a spotlight trained on the diagonal lit her passage along the transverse. Her untiring energy even in the last item, despite the sweat dripping off her in rivulets drew loud applause from an appreciative audience.

Priyadarsini Govind had the disadvantage of a late start, but it was a determined artist one encountered that evening. She had a long programme planned; she probably sought to balance Swati Tirunal’s tana varnam, ‘Sumasayaka’ in Karnataka Kapi ragam, Rupaka talam, with four abhinaya pieces before the Kadanakuthuhalam, Adi thillana. When she announced her intention, one wondered at the wisdom of pushing one’s audience on a Sunday evening but each of them was so delectable that one did not feel the passage of time; and yes, she did retain a sizeable audience until the end, at 9.45 p.m.

A crisp Mallari and a Tisra Alarippu established Priyadarsini’s ability to bring stillness into every movement and nuance. Her stylised movements are executed with single-minded focus and deliberation conveying intensity to nritta portions as well. Despite these pluses, the first trikalam theermanam of the varnam with each phrase repeated in different speeds in quick succession, composed by mridangist Vijayaraghavan, failed to make an impact.

Priyadarsini Govind.

It did not help that the dancer was accompanied by a diffident nattuvanar in Shajilal. Perhaps he was overwhelmed by the home crowd. The nritta that followed was more effective and the orchestra’s confidence grew with every segment. Viswanathan (mridangam) was particularly attentive while Preethi Mahesh (vocal) and Kandadevi Vijayaraghavan (violin) provided excellent musical support.

The best of the abhinaya pieces were Kshetrayya’s ‘Aiyayo Vegatayana’ in Nadanamakriya ragam, and Purandaradasa’s ‘Jagadhodharana’ in Kapi ragam. Both were dealt with great sensitivity and involvement. This depth not many can reach, and this is Priyadarsini’s triumph card.

Surely Sankara Menon would have been impressed with Leela Samson’s choice of artists for the festival.

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