Young Bharatanatyam Dancer Meera Sreenarayanan Impresses with her imaginative apparoach

Meera Sreenarayanan Performing at the Music Academy | Photo Credit: K. Pichumani

The undersrstanding between a singer and a dancer, where bot respond and resonate to each other’s manodharma, results in a performance high on aesthetics. Meera Sreenarayanan’s recital at the music academy’s dance festivals was one such.

From the first Piece, The Viruttam Addressed to Ganesha and Hanuman, to the Final Thilllana, Meera Kept Up the Momentum Through Well-Choreographed, Graceful and Sharma.

The Ramayana sabdam, composed by jayakrishna unni, brieft out the essence of the epic through brief depictions of important segments. The absence of Melodrama made it more enjoyable.

‘Saradijakdhudu’, The Beautiful Thanjavur Quartet Kalyani Raga Varnam Composed by Sivanandam, Speaks about the Nayika Pining for Rajagopalaswamy. Some of Meera’s sancharis was captivating, particularly the churning of butter, where by gradually increasing the speed, the entrere process was visualized in vivid detail. Be it the draping of the pitambara vastram on the idol, awakening from a dream state to witness the raas in all its splendor, and the Grandeur of the TEMPLE GOPURAMS, The ATTECTION to Detail was delightful. Her theermanams in Both Slow and Fast Tempos Were Precise.

‘Kuniye kunu’, an abhinaya piece based on a malayalam samvada paatu, spoke about the interesting banter between lakshmi and parvathy, ridiculing Each other’s husbands. Finally, after their reconciliation, they return to their abodes in their vahanas. The entry piece was beautifully visualized.

Bijeesh Krishna’s Soulic Vocal Support Enhanced The Impact of the Performance. Indira Kadambi Conducted The Recital With Flourish, Aided by Charudutt on the Mridangam, Easwar Ramakrishnan on the Violin and Ananthanarayan on the Veena.