FRIDAY REVIEW

Arresting show

A lasting impression: Shweta Prachinda.

A lasting impression: Shweta Prachinda.   | Photo Credit: Photo: B. Jothi Ramalingam

SARASWATHI VASUDHEVAN

Shweta Prachinda exuded confidence, bearing the makings of a thorough professional.

To profile Bharatanatyam artist, Shweta Prachinda, is like reading from a book of who’s who.

With her roots firm in Pune it was Dr. Sucheta Bhide Chapekar who provided that initial solid foundation beyond which Shweta traversed and cut the barriers of the Western Ghats to find further ground in the art in Chennai from stalwarts like Priyadarsini Govind and K. Shajilal and to delve deeper under the renowned abhinaya expert Kalanidhi Narayanan.

The Dakshinamurthy Auditorium reverberated to Shweta’s electrifying performance never mind the low attendance and tonal oscillations of the recorded music. Preeti Mahesh’s vocalisation bore decibel disruptions throughout owing to a truant sound system.

Clad in a radiant pink etched with gold, Shweta’s surge on stage made the first impression a lasting one.

Exuding confidence, bearing the makings of a thorough professional, an exuberant Shweta’s offering to Ananda Nardana Ganapati was every inch the joyous dance of the seeker and the sought.

Nardana adavu weaves

Composer Oothukadu Venkatakavi’s text in Nattai was treated to a host of nardana adavu weaves which Shweta designed with her skill for space craft.

Gaining momentum in leaps and bounds, Shweta captured rock steady sculptures arresting the audience from the word ‘go.’

The ragamalika varnam — lyric by senior mridangam vidwan, G. Vijayaraghavan, and music by Hariprasad — had Andal as the pivotal figure.

Her love for Lord Ranganatha, expressed through the passing clouds, the parrots and the conch were unusually interesting.

A discreet usage of hastas in the teermanams reflected the intelligence of the choreographer as Shweta enjoyed the movement through the rhythmic complexities discovering many new dimensions in korvai and nritta.

Sharp tempo

The sharp tempo in the charanam brought to light Shweta flitting across the stage like a fireball.

Maharaja Swati Tirunal’s javali “Itusahasamulu” was a gratifying experience indeed as Shweta donned a sprightly nayika denying the advances of the Lord.

A complete shift of sublime emotion was reflected in Purandaradasa’s kriti “Jagadodharana” to substantiate the essential truth of Lord Krishna’s all-pervasiveness.

The performance peaked as the rhythmic syllables interlaced sollukattu in Gambhira Nattai, recreating Kalinga Nardana.

Shweta deftly slid across the stage applying angikabhinaya techniques and brought alive the joyous dance of Krishna in the waters to fight the duel.

A jubilant tillana of Balamurali Krishna in Brindavani mirrored soul satisfaction in Shweta’s korvai executions.

A potential and passionate performer, Shweta Prachinda has carefully studied Priyadarsini Govind’s technique and adopted it. In her artistic journey, one hopes to see the individual bloom.



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