Friday Review » Dance

Updated: January 6, 2012 14:32 IST

Mood and movement in sync

Vidya Saranyan
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Priyadarsini Govind. Photo: V. Ganesan
Priyadarsini Govind. Photo: V. Ganesan

Priyadarsini sparkled in both the nritta and abhinaya aspects. The rotund Ganesha, the awe inspiring dance of Siva, the rueful lass and the playful Krishna crystallised through her sinuous dancing.

Priyadarsini Govind’s natyam has a sparking dynamism that arises from presenting not just the essentials but also the spontaneous input that transforms plain text into visual poetry. That the dancer carries the rasikas with her intricate depictions confirms the realisation of her expertise.

From her sprightly entry onwards, the flow of varied portrayals in the recital for the inaugural day of the Music Academy Dance Festival underlined her experience in the field. The rotund Ganesha, the awe inspiring dance of Siva, the rueful lass and the playful Krishna crystallised through her sinuous dancing.

Little leaps marked Pushpanjali (Amritavarshini) where rhythmic tempos and verses set by mridangam vidwan Vijayaraghavan invoked the elephant god. The dancer’s three-way descriptions in profile and centre stage added interest.

A typical feature of Priyadarsini’s dancing that can be seen at its best in the varnam is the coming together of the pivotal energy of both pure dance and mood. Graceful moves were neatly tied up to a bunch of traditional adavus and twirls which then seamlessly progressed into abhinaya as the words moved in.

The melodious varnam composed by the Thanjavur Quartet in different ragas and Rupaka talam ‘Sami ninne Kori’ gave the dancer sufficient margin to put forth different interpretations in the early lines. Her ability to go the extra mile manifested itself in her flamboyant declarations of the beat of Siva’s udukkai as well as his awe inspiring dance. “When two ladies - Uma and Ganga abide in your body and locks why not accept me (as the third)! Grant me a place in your heart” were saucy words by a heroine, who has dedicated body and soul to the Lord.

Despite glitches in Aharya as seen from the errant Jhumki and bindi, the dancer carried through the dual streams of devotion and love succinctly. A Kshetrayya padam popularly reffered to as ‘Kodi Kuse’ and ‘Vishamakara Kannan’ explored humour in different situations of love as well as mischief. The dancer’s droll expression for the heroine of the Saurashtra padam was an endearing match for the soured romance. The rooster that played spoilsport by ushering in dawn too early was a rapid depiction.

The Oothukkadu Venkatasubbier song was done with more breathing space where Krishna cleverly manipulates a gullible girl. Priyadarsini’s role play in lieu of the naughty boy and the round-eyed girl evoked laughter among rasikas. Preeti Mahesh’s singing, Balakrishnan’s nattuvangam, M.S. Suki’s mridangam and Sikhamani’s violin plays combined with the dancing effectively.

The thillana in Behag reinforced the elegant metier of the dancer.


Vidya SaranyanDecember 27, 2011

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