Sreelakshmy Govardhanan is a confident Kuchipudi dancer, who has come into her own. She is a disciple of Guru Pasumarthy Rattaiah Sarma.
While exaggerated mime is a given in many Indian classical dance styles, Kuchipudi adds a bit more. And, Sreelakshmy’s fluid style amps that up.
Kuchipudi dancer Shreelakshmy Govardhanan at the Music Academy’s dance festival on January 7, 2024. | Photo Credit: RAGU R
Sathyabhama overtures to Krishna in the Krishna Sabdam ‘Swami ra ra’ (Mohanam, Adi) were sensuous and beautifully timed. The demure heroine of yesteryear is passé, and has been replaced by this bold woman with no inhibitions. The sabdam opened with jathis that were fast and dynamic, as Sreelakshmy filled the stage with vibrancy. She has added bounce to the traditional, racy but grounded vocabulary.
The attractive dancer displayed a sureness of intent and nuance as she gave fresh life to old pieces. The first two introductory daruvus — Sathyabhama Pravesha Daruvu and the ‘Siggayeno yamma’ song in Madhyamavati — from the dance drama ‘Bhama Kalapam’ were the other feathers in her cap. Nothing can beat the appeal of traditional repertoire, especially when presented with enough energy and involvement.
Sreelakshmy is light on her feet and her footwork is good. Her Sathyabhama is a proud woman. Krishna has left her and she is repentant. She asks Madhavi to bring him back (‘Rave madhavi’, in Anandabhairavi). Madhavi asks for his name, and true to the habits of yore, Sathyabhama cannot say it aloud. She mentions his accessories and Madhavi gets it wrong every time — instead of the shankha, she mistakes him for a vendor selling shells; for the chakra, she imagines a cymbal maker; and for the ‘makara kundalam’ earrings, she visualises a poor Brahmin, leading to some laughter.
Kavya Hareesh (nattuvangam) made a good Madhavi from the wings even as she conducted the programme competently. K.P. Nandini’s bowing was sublime. The standouts were her introductory Bhairavi and Behag for sringara rasa. Bijeesh Krishna’s music was bhava-laden; his choice of ragas for the Krishna navarasa piece was out of the box — he chose Varali for hasya and Charukesi for karuna. He tailored the ragas suitably to reflect the mood. Kalamandalam Charudatt (mridangam) added to the energy of the performance.
Sreelakshmy concluded with a tarangam, the footwork on the brass plate. It was preceded by the story of Poothana’s death. It was visualised by Sreelakshmy, written by Vasudevan Namboothiri and tuned by Ajith Edappily in ragamalika, talamalika.
Poothana’s story was dramatic — the asura changes her form to that of a beautiful damsel, the fierce walk changing into a graceful one. This walk is recalled again in the story when she forgets herself. Nuanced mime, this! Poothana’s death is gradual — a soft tug at her breast by baby Krishna gets stronger and the asura in her takes over to push Krishna; her eyes roll, and it’s over. The deft footwork on the plate was a fitting finale to a well-rounded performance.
COMMents
SHARE