Natyam

With the musicians in place – Easwar Ramakrishnan on violin, Pirashanna Thevarajah on mridangam and Aditya Prakash on vocals – the performance begins with Suraya, an invocation to the energy of the Sun and, indeed, of the dancer, her ensemble and the eagerly awaiting audience.  This item is predominantly driven by technique, or nritta, which shows Prakash’s sensitivity to a mostly unacquainted (in bharatanatyam terms at least) audience.  She shows strength in stillness (her posture and alignment are perfectly placed), and strength in movement (razor-sharp chakkadar spins and tatkar so pronounced it’s a wonder the stage floor remains intact), which she balances with softness in the face and a tremendous warmth in the heart.  

 

In a costume of glistening gold, green and red, and henna-dipped hands and feet, Prakash takes to the microphone to address her audience and explain the story that we are about to see through mudras hand gestures.  The piece, named Leela which means play, depicts the mischievous qualities of Krishna and as a perfect circle of light emerges centre stage, perfect symmetry is created between Prakash’s body and its shadow – the perfect space for this story to come alive.  After a brief exit, Prakash returns to the mic once more to introduce the final item, the grand finale.  And grand it is, a display of ingenuity, virtuosity and finesse where melody and rhythm, technique and narrative combine to create something unique.  Her strength is in the balance of all these elements and that is how Prakash captures the heart and soul.