Bharatanatyam recital by Gopika Raj Pillai showcased her impressive skill and the captivating beauty of the Kalakshetra style.
Thouryathrikam, a monthly dance programme organised by Navaneetham Cultural Trust has been
staging young talents since last few months. Regularly held at the Black Box of Kerala Sangeetha Nataka
Akademi, the shows have been a blessing to dance rasikas.
The latest in this series was a scintillating Bharatanatyam recital by Gopika Raj Pillai which demonstrated
not only her commendable terpsichorean potential as well as the bewitching beauty of the Kalakshetra
style of this dance form.
Attractive adavus
Gopika opened with a virutham that embraced the slokas fifty and fifty one of Adi Sankara’s Soundarya
Lahari. Composed in ragamalika, the piece sufficed to showcase the potential of the dancer, especially in
the delineation of incomparable gorgeousness of the lyrics. Alarippu in tisra druva, composed by her
Guru Dr Nirmala Nagarajan followed. The number helped the dancer to “blossom” in conformity with
the definition of the item and the nritta with varied adavus was attractive.
It was really a boon to the Rasikas in Trissur that they could watch the much sought-after Varnam by
Dandayudhapani Pillai, “Swamiye azhittu vadi sakhiye” after many years. Composed in Navaragamalika,
the number is an illustrious presentation of the ‘Virahotkantita nayika’. The nayika, pining for union with
her lover Siva, pleads to her Sakhi to bring him to her.
And what followed was a picturesque description of Siva. The innumerable postures of Siva that Gopika
struck had a unique sculptural beauty. The ease with which she presented them and the stability were
praiseworthy. As for the dance part, their geometrical orientation added an extra aesthetic elegance.
Choreographed by Nirmala, balance of nritta and nrithya was perfect.
The repertoire turned noteworthy as the next item padam in Tamil, Rusiyayi Iruntho depicted a Khantita
nayika. Interestingly, both the composition and choreography was by Nirmala herself. The Arabhi piece
was in misra chapu. Once again the histrionic aptitude of Gopika scaled to heights in this. One felt she
could have been more furious with the lover. Further this was a contrast to the previous number too
thereby providing variety to the repertoire.
Though very familiar in dances of all genres, nineteenth Ashtapady – Priye charuseele – was superb.
Every word of lovelorn Krishna’s plea to Radha received superb narration. Coupled with Bijeesh
Krishna’s inspiring recital, the number was splendid. Moreover the raga Tilang appeared most suitable
for the evocation of the mood.
Perfect sync
A demarcating feature of Gopika was her consciousness about the utilisation of space. This was
perceptible in all the numbers. Gopika is the recipient of the prestigious Gutty Vasu Memorial prize from Music Academy, Chennai. She is equally proficient in Kuchipudi and Mohiniyattam.
The two- hour recital concluded with a brilliant tillana, composition of Balamurali Krishna in Brindavana and adi also choreography of Nirmala.
Over the years, Bijeesh Krishna has graduated into a consummate dance-musician and his rendition
deserved special mention. His constant companion Charudatt on mridangam is always in perfect sync
with the vocalist. Hariprasad on flute and V Soundararajan on vina provided able support.
Nirmala was on nattuvangam. Her antics were proof enough of the perfection of the performance of her
disciple, in sharp contrast to many gurus who appear tensed on occasions like this.
