Measured and meticulous , Priyadarshini Govind’s stylistic solo Bharatanatyam presentation in New Delhi pushed the boundaries of the traditional Vazhvoor School, making for a more meaningful idiom. Stretches, squats and static postures were the signets of Priyadarshini’s artistry all through her performance at Rashtrapati Bhavan as part of Indra Dhanush series put together by Rashtrapati Bhavan with active collaboration of SPIC MACAY.
While the alarippu,with Tirupuhzal (rhythmic Tamil religious verses) in the background, was novel and beautiful to behold, her unhurried footwork, which falls in absolute sync to the taal, was the hallmark of her classicality.
Though the preliminary piece in any dance repertoire, this was by far the best, a sort of affidavit of the dancer’s maturity in handling a customary piece with expertise. The ‘Thumak chalata Ramachandra...’ an abhinaya-oriented one, went well with the august audience in the exclusive precincts of the Rashtrapathi Bhavan. The ‘vatsalya’ rasa (maternal emotion) oozed as she emulated Kausalya carrying her child Rama on her back as she piggy-rides him in a playful manner. The mother resorting to diversionary tactics to get the tilak straight on her child’s forehead was interpreted with eye to detail.
It would have enhanced the presentation had she sported a toddler’s walk in keeping with the lines of Tulsidas verses. The tillana (inspired by Drupad) blended seamlessly into the abhang, ‘Brindavani venum bhaje...’ (a Bhanudasa composition) which dwelt on the mesmerising effect of lord Krishna’s melodic flute on flora and fauna; where natal rivalry between animals also turns into harmonious co-existence.
The artiste’s mime gave a dimension and depth to the devotional which is seemingly simple but actually a challenge to a dancer.
The lengthy piece on Devi, culled from varied Sanskrit shlokas and songs, was a tad disappointing as it was less on the aspect of dance and more on the axing of auspicious verses like Adi Sankara’s Ardhanareeswara stotra and Dikshitar’s kriti . Whether it is proper to chop off a kriti by singing and dancing to the first line alone, is something a veteran dancer like Priyadarshini should expound!
The energetic sollukattu for the ferocious Kali seemed to taper off by her normal, slow-paced nritta; a brisk crisp footwork would have worked wonders.
Vocalist Vasudha Ravi was simply stupendous with her evocative tonal quality which enriched the performance. We could not help glancing now and then towards the orchestra, a superb combination of K.S. Balakrishna, the nattuvanar, Vedakrishna Ram on the percussion and Eshwar Ramakrishnan on violin.
