PRIYADARSINI GOVIND, a disciple of the late Swamimalai S. K. Rajaratnam and Kalanidhi Narayanan, presented her dance recital for the Music Academy on December 26. The first item was a Mallari in Misra Triputa tala, followed by the Tisra Alarippu, in a charming way. The movements were sparkling though `hops' abounded at various places, throughout the programme, barring the Jhavali. `Sami Nan Undan,' the Varna of Papanasam Sivan in Natakurinji was taken up next. Eurhythmics was at its best in the presentation. Unusually the first teermanam, if it should be called so, after the Pallavi first line, contained no rhythmic solfa syllables, but usurped by the words `Om Namasivaya,' but it didn't match.
The third teermanam in Khanda gati reminded one of the Melaprapti, which was, a few decades back, the initial item in the Bharatanatya repertoire. The lyrical line, ``Natanamadum" was sung for a few minutes in madhyama kala, when Priyadarsini did her sancharis. Before the Ettukada, there was something like a short Tani on the mridangam, all the while the dancer was sitting, facing downward, as if it did not concern her.
The Pada ``Idaivida innam" in Saveri by Vaitheesvarankovil Subbarama Iyer, was done in a remarkable manner. The Jhavali in Behag, ``Samayamide rara" is the call of an adulteress to her paramour. This item having tremendous scope for Bhava, Priyadarsini's portrayal was splendid. The orchestra supported the dancer in an excellent way. Giving the meaning of the sahitya (except in the case of the audience abroad) or doing sancharis, even before the commencement of singing of an item are unnecessary.
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