Kavaya Ganesh impressed with his fine performance

Kavya Ganesh started his performance with Rishi Patanjali’s ‘Shambu Natnam’. Photo Credit: Parry S Jindal

The beauty of Bharatanatyam Margam is in its structured format. Nevertheless, it allows artists to remagin and present it in their own way. This was clear in Kavya Ganesh’s recent performance for the HCL series hosted by the Music Academy.

Soft vocals by the dancer, light music and the pose beautified by the dancer set tone for a vibrant opening. Kavya began her performance with sage Patanjali’s ‘Shambu Natnam’, portraying the lord of the dance. The movements were marked by clarity as he expressed the essence of the hymn. The music composition was by Os Arun.

The next time Kavya presented a composition of Kadigai Namashivay Pulwar in Raga Khamas, Swarajati ‘Mamohalhiri Merude’. He expressed the emotional upheaval of a heroine for Muruga well.

Kavaya Ganesh. , Photo Credit: Parry S Jindal

Kavaya Ganesh performing in the HCL concert series of Sangeet Academy. , Photo Credit: Jothi Ramalingam B

Kavya expressed innumerable colors of love using Kamal’s imagination. If its beautiful color, shape and fragrance brings pleasure to the heart, the flower bloom during sunrise and the Willing during sunrise can be compared to a lavorne heroine. In this sequence, the mood transition – from unrestrained love to cuckoo – was painted in a fine manner. Similarly, Kavya caught emotions well in Anupalvi, where the heroine is in a dilemma, whether he reaches his God or not.

Jathis composed by Ramamurthy Shri Ganesh stood out with accurate footwork. However, slightly more grace will increase the effect.

Kavaya Ganesh at Kasturi Srinivasan Hall, Sangeet Academy in Chennai on Tuesday. Photo: Pari S Jindal / Intern | Photo Credit: Parry S Jindal

In Chakravakam, Annamacharya Kriti ‘Palumaru’ again depicted a sakhi, which requested Goddess Almelumanga that Kavya did justice to this piece. However, in two consecutive compositions, the heroine-Sakhi interaction was a trifle tired.

The dancer handled the Thumri, ‘Na Kadamb Na Kunj’ next time, in which Radha was depicted to wake up from a dream and search for Krishna. In her longing, she begins to recognize and imagine herself as Krishna, before realizing that both Radha and Krishna are the same. Kavya beautifully expressed this transition with sensitivity from Radha to Krishna.

Amritavashini raga Tilana, composed by Satish Venkatesh, with verses Valmiki RamayanamThe closing was the piece. The portrayal of the monsoon and the happiness associated with it gave vibrations of the piece.

Janani Humsini’s singing was intimate and in symmetry with dance. Kiran Pai on Mridangam, Sujit Naik on flute, TV Sukanya on Violin and Hemanth on Nattuvangam provided good support.

Kavaya Ganesh. , Photo Credit: Parry S Jindal