 Enter Aishwarya
 Enter Aishwarya Narayanaswamy. Event, her solo Bharathanatyam recital at the Kasturi Srinivasan Hall, Madras Music Academy, on the 10-day, 17th Spirit of Youth Festival of Music and Dance of the Academy sponsored by TVS-Sundram Fasteners in memory of late Ambujam Krishna, a great composer of 600 inspired kritis.
Aishwarya’s guru: Anitha Guha
Accompaniments: Kalaimamani Radha Badri (vocal), J Padmanabhan
(mridangam), Muruganandam (violin), B N Ramesh (flute)
Day, date, time: Wednesday, Feb.23, 7.30-9 p.m.
Audience - capacity-filled 200 dinstinguished rasikas, including senior functionaries of the Academy.
 Point: Aishwarya Narayanaswamy (18) is an artiste of tremendous potential and dynamic promise.
Proof : Repeated applause at every meaningful stage. The entire audience stayed throughout the
programme.
Conclusion: Even the most hardened critic would admit Aishwarya is a high-class dancer. About two years would prove this, given God’s abundant grace. Why not, class will tell!
Aishwarya danced her way into the hearts of the rasikas through six, technique-studded numbers: Opening Thisra Roopakam Alarippu in Nattai - entrancing; Kalyani - Roopakam Jathiswaram of Tanjore Ponniah Pillai - captivating. These two were rendered traditionally.
 The art form’s premier piece, Madurai Krishnan’s Todi-Aadhi Maaye Maayan Sodhariye, was noteworthy for innovative choreography without transgressing the strict Academy guidelines. The Universal Mother’s nine rasa-oriented-graces picturised Her exalted status divinely. The related sancharis, adavus (all 14 of them), abhinaya and other repertoire evidences were in perfect harmony.
The devotee’s humble homage to the Sringara Sruti Laya Bhaavame - Ulaga Nayakiye - Sankatam Theerppaye was stirring. The theermanam-cadences to the custom-tailored repetitive lyrical lines, interwoven with the three main tempos, inspired automatically supportive interactions from the wings - music, nattuvangam, drum, violin and flute. The most challenging rhythmic sequences - toe-heel miming (araddi) elicited frequent, warm appreciation.
 The two padams, Idhuvum Solvaal-Aneham Solvaal (Saurashtram - Aadhi - Subbaramier), Chinna Chinna Padam Vaithu (Ambujam Krishna - Kaapi: Aadhi), and Balamurali’s Kathana Kuduhalam - Aadhi Thillana were sweet grapes and cherries on the nutritious ice-cream.
Aishwarya did not take more than a minute or two between numbers. Her stamina, one-legged stances, sculptured poses, picturisations were all truly classy. High praise? You should have been present. Watch her next time, please!
 Aishwarya could have easily got into any professional college, engineering or medicine: she had that kind of brilliant academic record. She chose a comparatively less-demanding arts course at a women’s college (less distracting!) to pursue a dedicated dance career at the highest level. Her commitment is so complete.
Here is a teenager whose performance is of the healthy nutrient variety that spurs art-integration so essential for shaping better human behavioural patterns. She is also able to establish positive, assertive vibes with the Indian disapora community. Wait and see. I have high hopes. So have her supportive parents and beloved guru Anitha Guha, who was all cherubic smiles at the end of the memorable performance.
The mother, Radha Narayanaswamy, was in happy tears!
R Srinivasan
|
