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The Hindu
7 days ago
- Entertainment
- The Hindu
Young Shruthipriya Vignesh impressed with her mature abhinaya
The story of 'Shiva Deeksha', a padam composed by Ghanam Seenaiya in raga Kurinji, goes thus: the nayika, who has taken deeksha from her guru to serve Shiva, focuses on the rituals of daily worship. At that moment, she is distracted by Mannaru Ranga (Vishnu), who entices her. The nayika, now in a dilemma, is torn between her devotion to Shiva and her love for Vishnu. Choreographed by Nityakalyani Vaidhyanathan, this composition was the highlight of the performance by Shruthipriya Vignesh. It was part of The Music Academy's Mid-year Dance Festival. Shruthipriya portrayed in detail the entire process of the nayika preparing for the daily rituals. Her expressions aptly conveyed the heroine's state of mind. Shruthipriya commenced her performance with a guru stuti followed by the classic Anandabhairavi Swarajathi, 'Sakhiye indha velaiyil', by the Thanjavur Quartet. The dancer transitioned from the nayika to a sakhi effortlessly, even as she described the grandeur of the Mannargudi temple and its presiding deity, Rajagopalaswamy. The nritta passages were executed gracefully with firm footwork. Next she presented 'Adahothale makkalu, a composition by Purandaradasa that speaks about little Krishna complaining about the cowherds teasing him. Shruthipriya's rendition captured the essence of the piece. The dance recital concluded with a thillana in Brindavana Saranga, Adi tala, composed by Madurai N. Krishnan. Hariprasad on the vocal, Govindarajan on the mridangam, E. Devaraj on the flute, N. Anantha Narayanan on the veena, provided the musical support. Nithyakalyani Vaidhyanathan conducted the recital with finesse.
The Hindu
25-06-2025
- Entertainment
- The Hindu
Aparna Mohan and her refreshing Bharatanatyam recital
Aparna Mohan's Bharatanatyam recital, though rooted in tradition, had a freshness to it. Hailing from Thrissurand trained under gurus, Shafiquddin and Shabana, Aparna presented a well-structured recital, which was a part of the Natyarangam monthly series. She began with a Ganapathy stuti in raga Tilang and Adi tala, a composition by Agathiyar titled 'Prabho Ganapathe'. This opening piece was performed with clarity in footwork and composed expressions, setting a devotional tone for the evening. The central piece of the evening was the varnam, 'Sakhiye indha velaiyil', in raga Ananda Bhairavi and Adi tala, composed by the Thanjavur Quartet. This composition depicts a nayika's yearning for her beloved Lord Rajagopala of Mannargudi. Aparna portrayed the conversation between the nayika and hersakhi with convincing expressions. Particularly notable was her subtle use of eyes, conveying love, longing and impatience. The sancharis (narrative sequences) were brought out with clarity, especially when she compares her sakhi to a peacock or when she is struck by the arrows of Manmatha. Her footwork was well-paced and confident, providing rhythmic depth without overwhelming the emotive aspect of the performance. Next came the padam, 'Theruvil varano', composed by Muthu Thandavar in raga Khamas and Rupaka tala. This evocative piece allowed the dancer to delve deeper into the realm of abhinaya. As a maiden longing for Lord Nataraja, her expressive storytelling stood out. The moment when she imagined the Lord standing at her doorstep whispering secrets was delicately portrayed. Her hand movements were soft and precise, and the subtle changes in expression effectively captured the transitions from hope to frustration and, finally, acceptance. Aparna concluded her recital with a vibrant thillana in raga Dhanashree and Adi tala, a composition of Swati Tirunal. This brisk piece provided a fitting end to the performance. The choreography showcased neat rhythmic patterns, while her costume and jewellery added to the visual appeal. The nattuvangam support kept the rhythm lively.
