The depth of Priyadarsini Govind's artistry lies not just in the visual poetry created by her finely crafted movements or in the depth of her emotive prowess, but in her constant search for fresh perspectives within.She is an artist, or rather a stylist, for whom the art is not a static entity but a supple fabric that can be stretched to accommodate a discerning mind. And it is this uniqueness that cloaks her every offering, be it a new choreography or an age-old composition.
While navigating uncharted territory, Priyadarsini has not lost sight of the essentials of good dance: posture, grace, timing, footwork and sensitivity. She has simply moved beyond mere excellence, even though the litheness of spirit combined with perfectly chiselled movements and an intense articulation is impressive enough to satisfy even a connoisseur.
Priyadarsini stayed within the traditional repertoire, tweaking tried and tested compositions like K. N. Dandayuthapani Pillai's raagamalika varnam, "Swamiye azhaithodi vaadi" in Adi taalam.
The pure dance sequences were many-tiered edifices built around different jathis, the varying arudis simply serving as exhilarating endings. The vibrancy in the nritta came from the complexities of calculations as well as from the composition of adavus.
Priyadarsini's energy was unflagging; she was light-footed while covering space, even as she was firmly grounded while executing the steps. This rigour continued into the concluding thani avarthanam composed in Nalinakanti, Adi taalam, by violinist K. Sivaramanan and Gomathi Nayakan. The thani avarthanam itself was composed by senior mridangist Vijayaraghavan while the Pallavi was set by mridangist Shakthivel, who also contributed to the precision of rhythm that evening. One more person who needs to be mentioned is Shajilal whose timekeeping with the cymbals and konnakkol were faultless.
The vocalist Preethi Mahesh provided pleasing melody all evening. She was well supported by Shikhamani (violin), and Ramesh (flute).
