Jyotsna Jagannathan’s expressive interpretations added finesse to her portrayal

Jyotsana Jagannathan’s Bharatanatyam performance at Sri Krishna Gana Sabha’s Pongal festival, held in January 2023.

Jyotsana Jagannathan’s Bharatanatyam efficiency at Sri Krishna Gana Sabha’s Pongal competition, held in January 2023.
| Photograph Credit score: Particular Association

Bharatanatyam dancer Jyotsna Jagannathan is presenting a padavarnam, ‘Sarasijakshudu’ (Kalyani, Rupaka, Sivanandam of the Thanjavur Quartet), during which the composer praises the ‘lotus-eyed’ Krishna. She walks to a spot on stage, at Sri Krishna Gana Sabha, and photos a pond with lotuses. As she is admiring them, Krishna walks previous. She set the context poetically.

That is the worth addition that Jyotsna’s maturity brings. She is a whole dancer — her nritta sparkles with wonderful footwork and charm, whereas her interpretations are expressive. ‘Sarasijakshudu’ attracts up the imagery of a procession winding its means and all that the nayika sees are the lotus eyes. She is misplaced in marvel, in love too.

Sadly, the readability within the imagery, didn’t proceed by the efficiency. Her physique is burning, she is crying and tears make puddles that Krishna uncaringly performs in – is featured within the second a part of the pallavi ‘Sami ninnu jera vaccitiraa naa’ roughly which means, ‘I’ve come to be with you.’ In her creative journey, Jyotsna stretches the imagery past the boundary of the phrases. Just like the unhurried method of an image story in a padam, she seeks to deepen the shringara influence. It’s a good starting, however must be refined.

The theermanams (Nagai Sriram) shines with the dancer’s health and timing and the nattuvanar Uday Shankar Lal’s succesful dealing with. The one in tisra and the next rhythmic sequence, ‘Jhanu taka’ have been notably arresting. The cymbals’s excessive pitch was jarring although.

Having caught Subramanya red-handed, the nayika is unforgiving in ‘Idai vida’ (Saveri. Rupaka, Subbarama Iyer). She accuses him of infidelity and refuses to listen to any explanations. The anger was maintained till the tip, however one felt the emotional join wanted extra depth with the damage and sarcasm to construct the temper.

The long-suffering Radha within the Ashtapadi ‘Pasyati disi disi’, searching for Krishna is consumed and sees him in every single place. She loses her identification and in her languid state clothes up like him. Jyotsna did nicely on this intense piece, helped alongside by Easwar Ramakrishnan (violin) and P.Okay. Sivaprasad (mridangam) with Deepu Nair demonstrating what a delicate singer he will be.

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