Keerthana Ravi’s Thoughtful Bharatanatyam Recital Blends Tradition with Quiet Experimentation
CHENNAI: Bharatanatyam dancer Keerthana Ravi, a disciple of Padmini Ramachandran and Rama Vaidyanathan, presented a contemplative and musically rich recital at the Iyal, Isai, Nataka Vizha of Narada Gana Sabha, offering a repertoire that leaned more towards introspection than spectacle.
She opened the performance with Muthuswami Dikshitar’s ‘Jambupathe’ set in Yamuna Kalyani, an uncommon choice for a dance recital, particularly as an opening piece. The composition, which explores the seeker’s journey towards true bliss, is layered with descriptive imagery. Keerthana approached it with restraint, using well-thought-out sancharis to bring out the philosophical depth of the kriti. Her interpretation focused on clarity of idea rather than overt dramatics, allowing the lyrical richness of Dikshitar’s work to take centre stage.
The second piece, ‘Pannagendra Sayana’ by Swati Tirunal, an evocative Ashtaragamalika, added colour and contrast to the recital. Beginning in Sankarabharanam and travelling through multiple ragas before concluding in Bhoopalam, the composition describes the reclining form of Padmanabha and the yearning of the nayika. Keerthana effectively conveyed this emotional arc through controlled gestures and fluid movements, maintaining continuity despite the shifting musical landscapes.
The recital concluded with a thillana in Miyan ka Malhar, composed by Karthik Hebbar. This piece stood out for its sensory appeal, capturing the romance and vitality of rain. Keerthana responded well to the rhythmic patterns, exploring the moods of the monsoon with lightness and grace, bringing a refreshing close to the evening.
That said, the recital would have benefited from tighter planning of the repertoire. Beginning an afternoon slot with a chowka kala Dikshitar kriti made it challenging to sustain momentum throughout. Additionally, greater azhutham in the musical rendition of the opening kriti could have enhanced its emotional impact.
The performance was ably supported by Kalliswaran Pillai on nattuvangam, Harsha Samaga on the mridangam, and Vivek Krishna on the flute, whose sensitive accompaniment complemented the dancer’s approach.
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Keerthana Ravi’s recital reflected a dancer unafraid to engage with complexity and subtlety. While the pacing of the programme called for sharper calibration, her interpretative maturity and musical sensitivity were evident. With more strategic repertoire planning, her performances have the potential to strike an even stronger balance between intellectual depth and audience engagement.
