Not often do you get to see clean, impeccable natya, understated abhinaya and a passion fuelling the movements on stage. Dakshina Vaidyanathan’s performance was nothing short of beautiful.
When there is clarity in terms of the actual geometry of the Bharatnatyam style, the torso and the limbs in perfect symmetry, it is a pleasure to watch. Combine that with agility and nimbleness, and a dancer leaping about the vast stage with effortless ease, the result is visual poetry.
Krishna was the theme - Krishna was the focus of love and Krishna was the spirit with which devotion unfolded. Right from the invocation piece, a Krishna Leela Tarangini hymn, to the thillana, in Dwijavanti, a composition of the late Balamurlikrishna and also a tribute to him, the flute made its presence felt. Held like a bansuri, it gave the hands an ethereal beauty.
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The varnam in Kharaharapriya, ‘Mohamahinen Indha Velai,’ had some sparkling jatis, composed by Karaikudi Krishnamurthy.
And articulated by guru and mother, Rama Vaidyanathan on the nattuvangam – the footwork with tiny little flourishes, provided an extra glow to the pulsating piece. The Kannada padam, a Purandaradasa kriti, in ragam Kalyani was soft and mellow unlike the varnam that had energetic nritta.
The slow-paced padam turned out to be playful as the nayika gently snatches away the flute. Evocative vocal by K. Venkateshwaran enhanced the recital. Viju Shivanand on the violin and Sribhuvan on the mridangam provided able accompaniment.
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