Prim, proper and precise
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Neeraja Srinivasan's dance movements were uncluttered.
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NEERAJA SRINIVASAN
The most impressive attribute of Neeraja Srinivasan's performing skills is the sincerity she infuses into every nuance and gesture. There is a quiet dignity in her bearing as well. Besides being a Bharatanatyam performer, Neeraja teaches dance part-time.
The lyrical beauty of a good posture transports a movement into the realm of timeless temple frescoes. It is this all-important posture that gives Neeraja's movements sheen. The geometry is uncluttered; the lines are firm yet tempered with enough softness to be graceful. The dancer's footwork was also impressive.
She was just as precise in substantiating the descriptive passages. On discovering her Lord's infidelity, the nayika in the Husseini swarajathi, "Ye Maayyaladira," is naturally derisive of the other woman. The dancer captured the essence of a scorned woman with her expressions. The theermanams in the Melattur Venkataramana Shastri composition in Rupaka taalam were crisp and well rehearsed. There was sufficient variety in the complexity of rhythm but the presentation on the whole needed more spontaneity and involvement. Perhaps a change of pace in narration might help. After a point, one must strive to go beyond precision. Neeraja emoted well in Dikshitar's Sama kriti, "Annapoorne" and Vyasaraaya's Yamunakalyani "Krishna Nee Begane Baro." They are both beautiful songs and if rendered correctly can take the rasika along on a voyage of delight.
But Jyothismathi, whose voice was already hampered by a cough, disappointed with her basic lack of sruti suddam. Instrumentalists P.V. Ramana on the flute and M.S. Kannan on the violin were melodious. Hari Padman on the nattuvangam was studiously accurate while G. Vijayaraghavan on the mridangam contributed rhythmic virtuosity to the presentation.
RUPA SRIKANTH
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