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Presents an evening of Bharatanatyam style classical dance...

Featuring the incomparable Priyadarsini Govind

Accompanied by a world class live orchestra from India comprising Gomathynayakam Ratnam(vocal); K.S. Balakrishnan(nattuvangam); Deepu Nair(violin); Vedakrishnan (mridangam) and Murugan(light).

Saturday, April 28, 2012 - 8PM,  

Venue: Goodhart Theater,
Bryn Mawr College,
Bryn Mawr, PA 19010
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$20, $25, $30 (General Admission Non-members)
$15, $20, $25 (Members)
$10, $15, $20 (Seniors/Students with Valid ID)

Buy Tickets:

(267) 797-7006

The Evening Performance:
PGExperience an exquisite evening of Bharatanatyam, a beautiful classical dance form from South India, presented by one of India’s top solo performing artists, Priyadarsini Govind. In a presentation enjoyable for both connoisseurs and those watching Indian classical dance for the first time, Priyadarsini Govind celebrates the diaspora of Indian literature through a suite of original choreographies in Pranaamyam. The audience will be moved and invigorated by the dynamic artistry and creative energy that Priyadarsini brings to the stage.

What the Critics say:
"Suddenly there comes a performance which opens the mind and heart afresh to the full aesthetic potential of solo classical dance. Priyadarshini's ability to sustain a repose and tranquility in the art form in an unhurried tempo, while bringing out the emotional depths, is all too rare among dancers of the day." - The Hindu
"Revered for her use of abhinaya, or the art of expression, Ms. Govind, who exudes a certain Bollywood glamour, incorporates a presentational style that is full of delicate detail but wholly accessible." - Gia Kourlos, The New York Times
"She (Priyadarsini) also makes the whole issue of 'innovation' in the Bharatanatyam technique somewhat passe and inconsequential; she dares to tailor the form to her amazing dancing ability, and gives it the stamp of her individuality - as it always was with the best exponents." - Alessandra Lopez y Raya, PULSE, London, England


In this original repertoire, Priyadarsini Govind has taken some of the finest poetry in Indian literature diaspora and has choreographed them exclusively for this program. This dance is a salutation to the poetry intrinsic and embedded firmly in our religious self. Ancient Indian poets visualize God not just as God but as a friend, lover, mother, son, sister.

During times of extreme stress, poetry or religion creates a way out of the violence of beating waves and guides us gently to the shores. It is the banks of a river that provides the quixotic mind with a delineated path. It is the “arth” or meaning that provides depth to dance. Poetry is not one-dimensional. Nor does it speak of God only as an unattainable presence. In indian poetry, bhakthi or devotion pervades every relationship as conceived by the port. It is the quiet voice of God that can be heard in the stillness of our hearts, if we will only stop to listen and understand the message of peace it carries.

The program will start with a verse from thiruppugazh- a 15th century anthology of Tamil religious songs dedicated to Muruga, written by the poet composer Arunagirinathar. “Muththaitharu paththith thirunakai aththikkira” has been choreographed as a pushpanjali or an invocatory item. Muruga, although the God of War is beauty personified.

This will be followed by the famous Swarajathi by poet composer Shyama Shastri- Amba Kamakshi in Bhairavi. Although a composition used primarily in music concerts, this has been choreographed in the dance varnam format complete with rhythmical sequences.

A verse from Valmiki Ramayana, this scene depicts the sequences that lead to Sita entering the fire. This has been choreographed in the padam format.

Mayya Mori Mein Nahin Makhan khayo- A light hearted piece by poet composer, Surdas, this poem verbalizes Krishna’s (insincere) responses to his mother on being accused of stealing butter.

Vishwaroopa Darshana are verses taken from the Bhagavad Gita about the true form of Lord Krishna. This has been choreographed and visualized as a piece interspersed with nrittha(pure dance) and abhinaya(expression).

This will be followed by a thillana and a mangalam.