Meera Sreenarayanan performing on the Music Academy’s 2024 dance pageant.
| Photograph Credit score: K_Pichumani
There are some performances the place dancers immerse themselves so deeply of their artwork that their pleasure is transferred to the viewers, evoking an exalted feeling of rasanubhava.
Meera Sreenarayanan’s efficiency on the Music Academy dance pageant fell on this class. From the second she entered the stage, she drew the rasikas into her fold.
The margam format of mallari to thillana was conceived as a thematic one, and had Muruga because the nayaka. Mallari in raga Gambhiranattai, composed by violinist Eshwar Ramakrishnan, with sollukattus by Charudatt had an attention-grabbing dimension. The temple environment was re-created with Mylai Karthikeyan taking part in the nagaswaram and Adyar Silambarasan taking part in the thavil.
Beginning with the partaking visualisation of the idol being carried on a palanquin, Meera established the stayibhava of the hero, with descriptions of his attributes.
The introduction of the heroine, a virahotkhanditha nayika, was executed by way of the Kapi raga Varnam ‘Mohalahiri Meeruthe’ composed by Kunnakudi Venkatrama Aiyar. Sancharis stuffed with delicate nuances, poetic metaphors have been expressed by way of beautiful abhinaya, the rhythmic teermanams danced with flourish and the perfection and charm within the adavus made for a vibrant bouquet.
Meera Sreenarayanan is a scholar of Indira Kadambi.
| Photograph Credit score:
Okay. Pichumani
A padam ‘Prananathan enikku nalkiya’ composed by Iraiyiman Thampi in raga Kamboji, speaks of the heroine who wakes as much as recall her intimate moments after an evening of passionate love. The eroticism embedded on this composition was dealt with aesthetically. The impression was largely enhanced by the expressive singing of Bijeesh Krishna, whose effective nuances and melodious rendition mirrored the numerous moods with finesse.
The romantic temper turned to anger and sarcasm within the Javali ‘Janathanamu maatalu’ in raga Saurashtram when the nayika is upset with the nayaka for being with one other girl.
Persevering with with the deal with Muruga, there was a prelude highlighting Kavadi Attam and the rituals related to it The recital concluded with a thillana in raga Simhendramadhyamam composed by C. V. Chandrasekhar.
The soulful musical ensemble consisted of Bijeesh Krishna on vocals, Indira kadambi on the cymbals, Charudatt on the mridangam, Eshwar Ramakrishnan on the violin and Ananthanarayanan on the veena.
The efficiency with its impeccable mix of aesthetically choreographed items and well-composed music had a long-lasting impression on the rasikas.
