"Ek Prayaas" can be termed as renaissance. The pursuance of dance again by young
Kathak dancer Pallavi Lal, who kept herself away from it for over eight years
to pursue Dentistry, is like the rediscovery of the joy of movement, only now
with a matured understanding.
Pallavi's entry into the stage once again was marked by whirling movements as she performed a whole 'Vandana', saluting the deities of the stage and her guru. Gandham Prakash trained this dancer in the original subtle graces of Kathak dancing. Pallavi carries a naiveté in rendering, but that cannot classify her as a dabbler. It is just an effortless and simple style of dancing.
Introducing the style of rendering with the ritual pure dance 'Thath', the dancer's demonstration explored the variations of the sounds of anklet bells, and extended to the 'Nrityang' or the 'limbs of pure dance' like 'Tode', 'tukude', 'paran', etc. The style was devoid of ornamentation and, in a pleasing mode, was patterned with basic gestures and movements. And for a change this style of ingenuous recitation was refreshing! 'Bhav Raag', in a direct choreography, shows Radha and Krishna playing with the colors of Holi, evoking the divine expression of love. Another piece shows Krishna and Radha at the banks of the river Yamuna in a sportive mood, and their dance to an imaginative music created by the 'celestial orchestral ensemble'.
Pallavi concluded with a lyrical Tarana before framing her recital with the 'Madhura Bhakti' concept, the faith in the union of Nature and the Almighty. Elaborate musical support from the wings - through percussionists Gyaneswar and Veeranna, flutist Dattatreya and sitarist Siddanth - complemented the performance.