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Dance > Review
Delightful Dance
07 April, 2014

-Sukanya Kumar 

From the word go to the conclusion, Akshaya’s dance performance was joyous and energetic.

Disciple of Krishnakumari Narendran this aspiring engineer has been training at the Abhinaya Natyalaya for many years.

She began the evening with a Rishabha Mallari in Gambhira Nattai propitiating Vinayaka, the Pranava Swaroopa and went on with the temple procession covering the stage space effectively.

Then followed the Navaragamalika Varnam , “Swamiyai Azhaitodi Vaa” a popular composition of Dandayudapani Pillai, where the Nayika sends her friend as a messenger to fetch Lord Brihadeeswara to her.

In the words of Cleveland Sundaram, the Varnam was an excellent choice as it deploys Gana ragas.  He praised the Adavus and Anga Sudham and said there was no sagging in the entire presentation. Brilliant Jathis and apt abhinaya spoke highly of the training imparted by the teacher.

Following next was the Tyagaraja Kriti juxtaposing “Ela Nee Daya Radu” the pleading invitation to Lord Rama and Bala Kanaka Maya, the joy the devotee poet feels on seeing His arrival. Set in ragam Atana and Adi talam, the choreography visualized the episodes effectively.

Swati Tirunaal’s Chaliye Kunjan Mo in Brindavana Saranga and Adi talam was once again a visual delight. The scintillating Tillana composed by Dr. Balamurali Krishna in Kathanakuthuhalam was a fitting climax with criss cross patterns and striking poses.  

Appreciating the distinct style of the guru which has percolated to the shishya, Priyadarsini Govind, the guest of honor paid due credit to Krishnakumari Narendran, “one of the senior most respected gurus with a large group of talented students, a person with a positive smile and sweet words for everybody.”

“It is not easy to train students particularly for magnum opus productions, opulent, creative, imaginative dance productions not only within the country but take them abroad with all the elaborate sets. There is devotion and divinity in the dance. I can see the distinct stamp of the guru in Akshaya, the sprightliness, vivacity, attention to rhythm and detail which are a hallmark of Krishnakumari akka,” added Priyadarsini Govind.

She eulogized the Mallari which was a grand recreation of the procession images. She said the artiste had beautiful stage presence and inherent grasp of laya.

Krishnakumari Narendran in turn praised the humility of Priyadarsini Govind, a consummate artiste who amidst a busy schedule was kind enough to grace the occasion and speak encouraging words. She is akin to a blooming lotus while Akshaya is a bud in comparison. “This kind of courtesy comes from good breeding,” added Krishnakumari Narendran.

The orchestra support, melodious voice of Kalaimamani Radha Badri, reverberating mridangm by Nellai Kannan, dulcet violin by M S Kannan and soothing flute notes by Sasidhar enhanced the musical quality of the show.

The Nattuvangam by the guru so full of expressive modulations was the icing on the cake. One could literally feel the pride and motherly possessiveness in the nattuvangam and the anchor notes she provided.

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