Quick movements and nimble leaps marked the technique of Krithika Ramachandran, a disciple of senior dancer and teacher Kanaka Srinivasan. Krithika is currently pursuing B. Tech at SRM University and her performance for The Nalli Aadi Naatya Vizha organised by the Brahma Gana Sabha at The Pethachi Auditorium revealed a preference for rugged nritta and restless energy. The dancer has roots in Delhi and been performing since her arangetram in 2005.
Krithika made her entry with Sri Rudram as the introductory number employing swooping springs and adavus that set a brisk tone for the evening. The slokas had been drawn from Yajur Veda and were sandwiched with sollukattu whose aural tenor matched the solemnity of the verses tuned in Revathi.
A prodigiously long theermanam which had the dancer prancing around the stage space was the main attraction for the Kharaharapriya varnam. A composition of Dhandayudhapani Pillai, the lyric of ‘Mohamahinen’ revolve round a heroine pining for Lord Siva. A striking feature of the choreography was the demands made on the dancer in terms of physical fitness. Taxing adavus and even the abhinaya component were tailored so that the dancer was zooming around. While it was obvious that Krithika's pure dance was equal to the challenge, the nuances were scarcely explored. The depiction of Siva's tandava was realistic but the rest of the emotive segment came across as an afterthought. Vocalist Sudha Raghuraman’s emotional rendering of the raga and her perception of the needs of the dancer added to the recital as did Kanaka's mature delivery of nattuvangam .
This exploration of mood was more successful later in ‘Gangadheeswaram, a lyric in Sindubhairavi. The quietude of Bhakti and the majesty of Siva were better appreciable here and Krithika’s cheerful depiction of the Lord of Varanasi made a convincing visual.
The magic of Krishna's flute was a pleasing portrait of Swati Tirunal's bhajan that included the subduing of the serpent and Kalinga Nartanam. Positioned after the varnam this piece continued the thread of entwining emotion and quick moves . While this made for a brisk pace, the undercurrent of tension in the dancer often led her to go a beat ahead of the rhythm - something more noticeable in the nritta portions.
The bubbly nature of Krithika's Bharatanatyam, fidelity to araimandi and angasudhham even in the Thillana in Madhuvanti, (a composition of violin maestro Lalgudi Jayaraman) lifted the bar.
