Nothing in Priyadarsini Govind’s Bharatanatyam has modified — the margam, the crisp nritta and the extraordinary abhinaya — are all there. Priyadarsini seemed relaxed, like she had nothing to show to anybody. Hers is a mode that enables for silence in between — the distinction between a tailor-made match and a free garment.
Priyadarsini commenced her efficiency with a pancha jaathi alarippu for Pambatti Sidhar’s ‘Aadu pambe’. The stiff natyarambam adapts to embody the snake because the dancer deftly navigated the rhythm created by mridangist G. Vijayaraghavan with music association by Rajkumar Bharati.
The silence was extra obvious within the lovely Khamas daru varnam ‘Mathe Malayadhwaja’ (Adi tala, Harikesanallur Muthaiah Bhagavatar). The bells have been heard through the jathis however simply so, with out amplification. The pallavi and anu pallavi have been dedicated to the creation of Shiva and Parvathi’s youngsters — Ganesha and Muruga — and their household of animals and vahanas. Parvathi overcomes the Chanda-Munda asuras and is commemorated as goddess Chamundeshwari with a crescent moon on her head.
Priyadarsini is mild on her ft, and is agile and swish. The Vazhuvoor jathis and the arudis have been superbly intoned (Jayashree Ramnath) and executed, leaving one to understand the quiet brilliance.
The dancer can be selecting subtler topics to mime. Ravana’s 10 faces have been detailed of their divergent reactions to his immoral need and the following lack of his stature — one cries, one stares, and one appears to be like down in disgrace. The tune ‘Dasa mukhi’ composed by Rajkumar Bharati, sounded completely different with flat notes.
The dancer’s penchant for humour is well-known. The 14th Century poet Vidyapathi’s ‘Ki kahab he sakhi’ supplied an sincere response from a newlywed about her nuptial night time. The nayika is embarrassed when approached the next morning. Hesitantly she replies, ‘He mauled me. Like pearls around a monkey…’
Commencing on the upper octave, vocalist Murali Sangeeth endowed ‘Jagadodharana’ (Kapi, Adi, Purandaradasa) with auspiciousness. The irony of Yashoda defending her younger one from a snake, when she is aware of Vishnu reclines on Adisesha, and when the mom lovingly carries Krishna on her again, realizing properly he carries the world on his, have been offered with poignancy. Her delicate abhinaya and the timing made it efficient.
The dancer concluded with a Purvi thillana (Rupaka, Thirugokaranam Vaidyanatha Bhagavathar) and an abhang (‘Vrindavani venu’), which describes a scene in Vrindavan the place a peacock and the cowherdesses preserve beat to Krishna’s flute, whereas all different beings are entranced by it.
Shikhamani (violin) and Muthukumar’s (flute) renditions have been constantly melodious whereas Shaktivel Muruganandan (mridangam) and Jayashree Ramnath (nattuvangam), have been restrained and dignified, enhancing the dancer’s imaginative and prescient of quiet enjoyment.