Friday Review » Dance

Updated: January 30, 2014 18:05 IST

Lively stage presence

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Krupa Ravi Photo: S. Thanthoni
Krupa Ravi Photo: S. Thanthoni

Diligence and dedication are Krupa’s trump cards and will help her go places

Krupa Ravi’s Bharatanatyam performance at Nalli Gana Vihar for Sri Krishna Gana Sabha had an authenticity that was refreshing for its lack of artifice. She has trained under the veterans, the Dhananjayans, and is currently under the tutelage of Ananda Shankar Jayant. This student of the Master’s in Development Studies, showcased tidy body lines and adeptness in abhinaya. Here is a talented artist who is on the upward path of learning.

The pushpanjali followed by ‘Sree Vignarajam Bhaje’ in Gambhiranattai was a brisk start that indicated the fitness of the dancer. She held her own in the brisk pace and applied herself diligently to the adavus within the composition.

‘Gokula Bala,’ composed by Raji Krishnan of Mumbai with dance set by the Dhananjayans, was an energetic lyric full of bhakti and vatsalya rasas. A steadfast araimandi with clean footwork and good sense of the intricacies of rhythm emphasised her skill in pure dance. Krishna’s many exploits were communicated with awareness of the significance of the miracles in the storyline. The progression of Krishna’s life from his stealing butter to revealing the wonder of the Gita was accurately portrayed.

A khandita nayika for Surutti and a eulogy of Siva’s dance in Latangi enabled Krupa to display her histrionics and dexterity credibly. The lyrics by Ananda Shankar gave good scope to the young dancer to put forth her skills in expression. Thillana in Sivaranjani provided a lively conclusion.

Krupa’s agility is commendable but she needs to work on some aspects in pure dance such as the lunges and leaps which have an unfinished quality to them now. She could also streamline her aharya with better attention to detail such as the placement of flowers that would add to her bright stage appearance.

The orchestral group led by Renuka Prasad for nattuvangam, Sweta Prasad’s melodious vocals, Balasubhramanyam on the mridangam and violin essays from Saikumar ensured solid support for the dancer.

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