Dr.Geeta Radhakrishna Menon performs her 105^th Narayaneeyam Dance Recital at Guruvayur temple on 19^th Oct 2020.

Dr. Geeta Radhakrishna Menon, the renowned Mohiniattam exponent, performed her 105^th Narayaneeyam Solo Dance Recital in Mohiniattam style, at the Melppathur Auditorium to a packed audience, on Friday, 19^th October 2012 , at Guruvayur temple. The occasion was the 425^th anniversary celebration in connection with Narayaneeyam. Organised by the Guruvayur Devaswom, the festival of ‘Nritholsavam’ was marked by ten days long celebrations. Famed dancers and film actresses participated in this Dance Festival.

The advent of the vivacious and the dynamic Dr.Geeta Radhakrishna Menon of Mumbai to perform the famed 16^th century sacred hymn of ‘Narayaneeyam’ penned by Sri Melpathur Narayana Bhattatiripad, at the Guruvayur temple, Kerala, lent a new dimension to Mohiniattam reverberating with ‘Bhakti Bhava’ and a plethora of exceptionally graceful ‘Lasya’ movements  and ‘Adavus’ of Mohiniattam. With her brilliant ‘Abhinaya’, she carried the audience along with her right from the first Dasaka “‘Sandranandavabhotatmaka anupamitam’ to the 100th Dasaka of “Agre pasyami”

The two hour long recital of Narayaneeyam which included‘Balakreeda’ ( Dasaka 45), ‘Visvaroopadarsanam’ ( Dasaka 46), Rasakreeda –Dasaka 69 and the 100^th Dasaka –‘Keshadipadavarnanam’; not only entranced the public with the most illuminating facial expressions but kept them spell-bound till the end of the programme. Geeta is well known for inculcating “Bhakti’ in all her choreographies thereby raising Mohiniattam to a height of “Sattvikam” or divine serenity.

Amongst Geeta’s varied choreographies in Mohiniattam style, ‘Narayaneeyam’ has been her masterpiece which she has performed over hundred times in India and various other countries like England, Switzerland, Holland, France, Germany, Belgium, Luxembourg, U.S.S.R,; U.K.; and U.S.A, China.; amongst other countries.

Geeta’s first performance of Narayaneeyam was performed at Guruvayur temple on 18^th April 1977. Ever since, she has never looked back. She continued performing her Master choreography, depicting Lord’s ‘leelas’ right from the mirthful prankster to the Supreme Omnipotent, in a well-knit mime oriented innovation with ripples of rhythm casting a lilting turn that made a pleasant experience for the ‘rasikas’ or the audience for over three decades.

The 105^th performance of Narayaneeyam at Guruvayur Temple was an enthralling experience for Geeta. As Narayana Bhattatiripäd says it is “Hanta Bhägyam Janänäm.”! –  A great luck, indeed, this lifetime! With humility, Geeta acknowledges the Grace of Lord Guruvayurappan, without whose  blessings, it would not have been possible for her to perform even one recital of Narayaneeyam. Till today, she has performed Narayaneeyam 108 times, and has placed them at the lotus feet of the ever merciful and benevolent Lord Sree Krishna.

There is a certain fascination in the personality of Geeta Radhakrishna. Her dance at the holy family church in Grafenwald was based on the theme of Maria Magdalena. With expressive gestures she succeeded in bringing the subject of her dance to an enchanting climax. None in the audience had experienced something like this before.

The audience at Don Bosco Hall in Mangalore was hypnotized by the Mohiniattam recital of Geeta Radhakrishna. Amazing eye expressions and innate grace electrified the viewers to their seats for two and half hours whilst they watched her perform “Swamiye SaranamAyyappa

Geeta drew the appreciation of houseful audience at Town Hall, Palghat, when she danced the story of Magdalana Mariam

The entire gamut of the performance being the Krishna legend and essentially based on lasya and shringara, Rasakreeda offered the artiste sufficient scope for abhinaya. Her eloquent eyes communicating the thematic essence of the episode of this item, was highly delectable.

Geeta Radhakrishna, who gave a Mohiniattam recital resembled a Ravi Varma painting with the emphasis on grace and poise. Added to this was her strict adherence to the style.