Footwork, bhava creates synergy

Lakshmi Gopalaswamy, dance in progress, at Dance Festival 2011 at The Music Academy, in Chennai on Friday. Photo: R. Ravindran

Lakshmi Gopalaswamy, dance in progress, at Dance Festival 2011 at The Music Academy, in Chennai on Friday. Photo: R. Ravindran   | Photo Credit: R_RAVINDRAN

Lakshmi Gopalaswamy’s performance at The T. T. K. auditorium adhered to the classical grammar, where airy nritta and intuitive abhinaya formed the fabric of her dancing. Known for her remarkable emoting skills on the silver screen, a dignity in portrayals formed the mainstay of the traditional margam.

The array of lyrics in the programme and the interpretations, identified Lakshmi’s synergy in dance to be a sequence of charming moves that included muted punctuations of footwork with detailed flow of bhava.

Lakshmi laid the ground for in-depth communication beginning with the eulogy of Devi, briefly through the kautuvam and then through the Dikshitar kriti as an uninterrupted description.

The Abhaya hasta of the Devi and the depiction of the devotee begging for redemption were friezes that were aesthetically pleasing besides relating profound concepts.

The sketches of fury while destroying evil forces were contrasted with those depicting compassion for the seekers without going overboard.

Other specifics that worked their enchantment were efficient lighting, the dancer’s exceptional attire and glittering accessories, all of which helped take the performance to another level altogether.

Rhythm and feeling were double offerings through K. N. Dandayudhapani Pillai‘s ‘Bhairavi’ varnam in Bhairavi. The gentle tempo articulated by Kiran Subhramaniam corresponded with the artist’s low-keyed moves in pure dance.

Murali Parthasarathy’s husky voice lent itself to the dancing satisfactorily. The verbalising of Muruga’s names in the interval between theermanams as sollu was a smart move that accentuated the theme.

The close calls concerning coordination between the orchestra and the dancer in a few endings could have been avoided to guarantee a tidier outcome.

While Lakshmi’s rhythmical essays were easy on the eyes it was her abhinaya delineations that carried an intellectual liveliness.

The narration of Muruga’s birth and the account of ‘Arumugam,’ though presented quickly, carried conviction.

The flashes where Lakshmi demonstrated the episodes where Muruga bested his father, imprisoned Brahma and quelled the asuras formed arresting visuals.

Another tale that was effectively communicated with pithy gestures was the granting of artistic revelation to saint Arunagirinathar.

Lakshmi’s performing captured the delicacy in the next lyric a padam in Mohanam with a precise touch of emotion. The peculiar dilemma of a young girl, her confidences about Krishna’s behaviour for this piece - better known as ‘Padakinti’ and her resignation were all done to a hassle-free speed that enabled the dancer to convey the timid girl’s mixed feelings for Krishna. The reluctance of the heroine was emphasised further by the slow exit of the dancer.

Thillanna in Kamas by Lalgudi Jayaraman was a bubbly rendering in dance.

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Printable version | Jun 2, 2020 1:49:12 AM |

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