The opening piece set the tone for a commendable recital by Sreelakshmy Goverdhanan, Kuchipudi artiste from Kerala. The recital began with ‘Sakala Ganadhipa’ in Arabhi, talam Adi, an invocation to three deities Ganapati, Hanuman and Krishna. Inspired by Swati Tirunal’s ‘Sri Ramana Vibho,’ Balamuralikrishna composed this song.
The stately form of Vara Siddhi Vinayaka, Vayuputra Hanuman carrying the Sanjeevani parvat and the nimble Mukunda Murahara were graphically portrayed. The composition with in-built rhythm and refrain at Shree that lends itself easily to Kuchipudi genre, was effectively used by Sreelakshmy.
‘Matsaramuna,’ Shabdam in Mohanam depicted Dasavataram. With darting eyes and graceful gait, she quickly and smoothly moved from one avatar to another, the dramatic fear — induced by Narasimha, the mildly amusing Vamana and the valorous Dasarata tanaya stood out.
Usha Parinayam, popular in the tradition of Yakshagana, opened with Pravesha daru, of introducing the character to the audience. Usha, daughter of Banasura, is a Mughda nayika. Lights go dim and the dancer, in a reclining mode, gets up with a start, after quite a long sleep. She had dreamt of intimacy with a handsome man and is confused between dream and reality. Her quest for ‘Sampoorna Sharatchandra sadrishya mukha’ and question of ‘Evaru Raleda?’ is answered in the negative, much to her disappointment and despair. She seeks the help of sakhi Chitralekha to alleviate the pain of viraha and the pangs caused by Manmada’s arrows. Sreelakshmy emoted with ease and efficacy.
Capturing the mood
Ashtapadi ‘Sakhi hey Kesi madhana’ began with deep-throated singing, creating the unhurried dreamy mood. Slow swinging movements conveyed Radha’s yearning for Madhava, detailing her amorous experiences.
Change in tempo for the garden scene with girls playing with the flower ball was depicted with minimal movements, yet created the effect of a group game. Extensive movements and expressive postures were the hallmarks of a neat recital. In the entire performance, the joy that the artiste experienced was palpable and reached the viewers. “It is my first season at Music Academy Annual Dance festival. I feel so privileged and blessed,” said Sreelakshmy.
Sureshkumar Nilemperoor on the nattuvangam, Murali Sangeeth on the vocal, Charudatt on the mridangam, K.P. Nandini on the violin and Sruthi Sagar on the flute were effective embellishments to a composite presentation.
