Sreelakshmy Govardhanan, a supremely confident Kuchipudi performer, has truly carved a niche for herself in the complex world of Indian classical dance. As a dedicated student of the revered Guru Pasumarthy Rattaiah Sarma, she brings a contagious vivacity to the stage that transcends the traditional norms of this storied dance form. Known for its distinguishable dramatization and exaggerated mime, Kuchipudi is enlivened through Sreelakshmy’s exceptional and fluid dance style.
On the evening of January 7, 2024, at the Music Academy’s dance festival, Sreelakshmy Govardhanan presented a mesmerizing performance that will be etched in the annals of Kuchipudi dance. With a finesse that speaks to her artistic maturity, she conveyed a gamut of human emotions through her portrayal of the mythological character Sathyabhama, who expresses her sensual overtures to Krishna in the Krishna Sabdam ‘Swami ra ra’ (Mohanam, Adi). The narrative unfolded with Sreelakshmy’s rendition of the character as a defiant, self-assured woman, starkly contrasting the submissive heroines of the past. Her dance was charged with energy, her footwork breathtakingly precise, infusing the traditional vocabulary with a new sense of buoyancy.
During her performance, the audience was treated to a revitalized interpretation of the classical pieces. Sreelakshmy’s introductory daruvus — Sathyabhama Pravesha Daruvu and the ‘Siggayeno yamma’ sung in Madhyamavati, from the renowned dance drama ‘Bhama Kalapam’ were especially noteworthy. It’s apparent that when the traditional repertoire is presented with passion and commitment, its allure is unparalleled.
The dancer’s agility and refined footwork brought to life the tale of Sathyabhama’s longing and repentance after Krishna departs from her. In a particularly notable scene, ‘Rave madhavi’, set in Anandabhairavi, Sreelakshmy as Sathyabhama beseeches Madhavi to bring Krishna back to her. The dialogue between the two characters is both comic and poignant, as Sathyabhama can’t vocalize Krishna’s name but describes his divine ornaments instead, leading to humorous misunderstandings.
Consistently adding depth and texture to the performance was Kavya Hareesh on nattuvangam who, from the wings, played an excellent Madhavi while also adeptly conducting the program. Furthermore, K.P. Nandini’s bowing was nothing less than sublime, providing the raga accompaniment that helps evoke the sringara rasa, the essence of romantic love. Bijeesh Krishna’s vocal rendition was imbued with feeling; his unconventional choice of ragas like Varali for humor (hasya) and Charukesi for compassion (karuna) lent an innovative dimension to the sentiments being portrayed. Percussionist Kalamandalam Charudatt on the mridangam injected the performance with rhythmic vitality that was palpable throughout the auditorium.
The culmination of Sreelakshmy’s programmed was the captivating tarangam with intricate footwork performed on a brass plate, a quintessential element of Kuchipudi dance. The prelude to this segment was the creatively visualized narrative of the demoness Poothana’s demise at the hands of baby Krishna, eloquently captured through Sreelakshmy’s expressive mime. The story, interspersed with Sreelakshmy’s nuanced portrayal, conjured a rich tapestry of imagery and emotion culminating in a climactic performance on the plate. The story, penned by Vasudevan Namboothiri and tuned by Ajith Edappily in ragamalika and talamalika, made for a spellbinding preface to the flawless execution of the tarangam.
Sreelakshmy Govardhanan’s magnetic presence at the Music Academy’s dance festival exemplified the evolving dynamism of Kuchipudi dance and reaffirmed its timeless appeal when channeled through the lens of a contemporary, yet deeply rooted, interpretation. The performance was a testament to her mastery of the form, her innovative spirit, and her ability to infuse a seamless convergence of tradition and modernity with each step, leaving the audience spellbound.
