Lyrical expressions
HARISH BAL
|
Aiswarya Narayanaswamy’s recital was an amalgamation of grace and precise movements.
|
LUCID AND GRACEFUL: Aiswarya Narayanaswamy.
A worthy disciple of Anita Guha, Aiswarya Narayanaswamy’s Bharatanatyam recital in Kochi was composed of pieces that showcased the artiste at her best.
Aishwarya proved her mettle right from the first item – a ‘Pushpanjali’ in Natta raga, an invocation to Yoganarasimha. Natural grace coupled with ‘Angasudha’ (clarity of postures) left a strong impact on viewers.
The main item of the recital was a varnam ‘Nee intha mayam,’ composed by Papanasam Sivan in Dhanyasi raga, Adi tala. Aiswarya succeeded in capturing the full essence of the dominant rasa of Sringara. She portrayed beautifully the yearning of the nayika when she pours out her anguish and says that she melts like a candle as she pines for Krishna. In the charanam ‘Aayrarkula deepame,’ the danseuse showed the childhood pranks of Krishna, the killing of the fierce Poothana and the dance on the serpent Kaliya. The swaras in the charanam saw some rapid, precise footwork and flawless adavus.
Her broad leaps and graceful gait highlighted her agility and dexterity. However, the sancharis could have been elucidated in detail. Although Aiswarya’s dance movements were impeccable throughout the recital, the same could not be said about her abhinaya. A slightly slower rendition of the composition and the music could have solved the problem, and the subtleties of emotions could have been expressed better.
Saranya Narayanaswamy’s balanced rendition of jathis on the nattuvangam and Randhini’s unobtrusive vocals complemented the danseuse. Jayadeva’s asthtapadi ‘Pralayapoyodhijale,’ in the M.S. version of the song, was sung admirably.
Vishnu’s incarnations
The dancer depicted the 10 incarnations of Lord Vishnu and the various episodes of the Dashavatara with clarity and imagination. The portrayal of Vamana’s true form and the grand horse movements in the form of Kalki were visualised with precision.
‘Dhumak Chalat Ramachandra’ showed an innocent Rama as a toddler; as the child walks around, his anklets tinkle and he claps in hands in excitement. Melodious notes flowed from Sreenivasan’s flute and Karthikeyan played some superb phrases on the mridangam. The dancer was grace once again as she danced the Brindavani tillana of Balamuralikrishna. The programme was organised by Dharani Society.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
