Latest news with #Mohiniyattam
News18
01-08-2025
- Entertainment
- News18
Janhvi Kapoor Is ‘Obsessed' With Her Song Pardesiya And So Are We
Last Updated: Dressed in a traditional blue kurta set, Janhvi Kapoor looked absolutely ethereal, moving with grace and effortless charm. Janhvi Kapoor is obsessed with her latest song Pardesiya from the film Param Sundari and honestly, we get it. The actress shared a delightful video of herself performing Kathak to the romantic number and it is every bit magical. Dressed in a traditional blue kurta set, she looked absolutely ethereal, moving with grace and effortless charm. Along with the video, she wrote a playful caption that read, 'I don't know if it's normal to be this obsessed with your own song… Mohiniyattam kar kar ke kathak se thodi out of practice ho gayi but this song brought back those feeeeels (sic)." Earlier, Janhvi Kapoor had said about the song, 'I have always had a soft corner for love songs and Pardesiya is one of the best that I have worked on. Having Sonu Nigam's voice elevate the emotion makes it truly unforgettable. I'm sure the audience will love it." Sonu Nigam On Pardesiya Pardesiya, Param Sundari's first song, has been creating waves ever since its release. The soulful romantic track featuring Sidharth Malhotra and Janhvi Kapoor won praises for the fresh pair's chemistry in the visuals. Talking about the song, singer Sonu Nigam said, 'It's always a joy to lend my voice to a heartfelt love song, and Pardesiya from Param Sundari is truly special. People poured so much love at the first look that I was already very excited for the full song. Watching Sidharth and Janhvi bring that chemistry to life on screen makes it even more magical." Param Sundari Release Date Earlier, Param Sundari was scheduled to be released on July 25 but was later postponed to August 29 due to unforeseen reasons. Directed by Tushar Jalota, Param Sundari is a cross-cultural love story between a North Indian boy and a South Indian girl. The film promises to bring a new-age love story, packed with emotions and drama. Besides Param Sundari, Janhvi Kapoor also has Sunny Sanskari Ki Tulsi Kumari in her kitty. Starring Varun Dhawan, the film marks his second collaboration with Janhvi after Bawaal. Apart from Varun and Janhvi, the film also stars Akshay Oberoi, Rohit Saraf and Sanya Malhotra and Maniesh Paul in the lead roles. view comments First Published: Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
The Hindu
17-07-2025
- Entertainment
- The Hindu
Namami Narayanam retells stories from Srimad Bhagavatam through Mohiniyattam
In a performance that shimmered with a quiet elegance and spiritual resonance, Namami Narayanam, a Mohiniyattam dance production, choreographed by guru Shruthi Shoby, was presented at Mylapore Fine Arts Club, as part of the Abbas Cultural Dance Drama Festival. Performed by Shruthi and her disciples from Srishti School of Classical Dance, the thematic production unfolded five timeless stories, themed on Krishna. The strength of this production lay, not in grandeur or opulence, but in its simplicity. The choreography used minimal props, allowing the audience to enjoy fluid movement vocabulary and nuanced abhinaya that characterise this dance form. The compositions in Malayalam, heightened the appeal. The evening opened with the tale of Dhruva, the boy who, abandoned by his father (King Uttanapada) and insulted by his stepmother (Suruchi), undertakes an penance to win the grace of Narayana. The portrayal of childlike longing, rejection and divine blessing was moving, with the dancer's restrained expressions evoking Dhruva's unwavering determination. This was followed by the poignant story of Ajamila, a fallen Brahmin, who, despite his moral decline, attains salvation through the inadvertent utterance of the lord's name. The redemptive power of faith and surrender, highlighted during the performance, was a recurring theme throughout the evening. The narrative deepened with the story of Pingala, a courtesan, who renounces worldly pleasures to pursue a moment of spiritual awakening. This segment was particularly impactful, as the lead dancer captured Pingala's luxurious life as a courtesan and the serenity that prevailed after her transformation. A shift in tone came with the fourth story, that of Santana Gopalan. The finale — Kalinga Narthana — where Krishna dances upon the serpent Kalinga's hoods. This scene was executed well, as the dancer's footwork and expressive control brought alive the symbolic subjugation of the ego. Choreography, concept and nattuvangam were by guru Shruthi Shoby, musicby Thrissur Krishnakumar, lyrics by Kalamandalam Ganeshan, background score and rhythm are by Nagarajan, vocals by Sudev Warrier, violin by Anand Lal and edakka by Thrissur Krishnakumar.
The Hindu
12-07-2025
- Entertainment
- The Hindu
Echoes of empowerment: ‘Penkaalangal' resonates at National Percussion Festival
A session titled 'Pennkaalangal,' meaning 'female rhythms,' drew a packed audience at the K.T. Muhammed Theatre on the second day of the National Percussion Festival on Saturday organised by the Kerala Sangeetha Nataka Akademi. The session opened with a captivating address by Mohiniyattam exponent and scholar Deepti Omchery Bhalla, who brought alive the poetic beauty of Mohiniyattam's padavarnnas, joined in soulful vocal support by Suprabha from Kerala Kalamandalam. Amritavarshini, a bold presence in the male-dominated thavil tradition, led a vibrant ensemble titled Yuvathaalatharangam. Her powerful performance set the stage pulsing. The akademi's platform was more than a stage—it was a resounding endorsement of Ms. Amritavarshini's rhythmic breakthrough in a patriarchal domain. Change and revival Adding to the tapestry of resistance and reclamation was Margamkali, once the bastion of male performers. With Akhila Joshi, Sibi Paul, and team at the helm, the presentation was a declaration of change and revival. From the traditionally male-dominated art of Thullal, a powerful performance by Kalamandalam Sharmila and troupe took centre stage, turning the form into a space for gender assertion and narrative justice. In the tabla segment, Mumbai's Mukta Raste proved that rhythm knows no gender. Her commanding tabla recital, accompanied by Santosh Ghande on harmonium, was yet another resonant statement of female prowess. The session culminated with an exhilarating thayambaka led by Nandini Varma and team. At a time when women were absent from chenda performances, Ms. Varma carved a niche through sheer dedication and grit. Her journey mirrored the struggles and triumphs of countless women percussionists. Pennkaalangal was not just a session. It was the akademi's heartfelt recognition of women percussionists, a rhythmic rebellion against patriarchy, and an ode to every woman who dared to beat the drum and reclaim her space. The second day of the percussion festival began with a stirring performance that defied time and age. The stage at the Actor Murali Theatre came alive with the majestic rhythms of Panchari Melam, led by none other than 80-year-old Therozhi Ramakuruppu and his ensemble. Youthful zest With a vibrant spirit that belied his age, Mr. Ramakuruppu took the chenda and began the performance with youthful zest. As the first beats echoed across the theatre, the sonic and visual splendour of the Melam captivated both eyes and hearts. Arriving at the venue early in the morning, Mr. Ramakuruppu was warmly welcomed by the akademi chairperson Mattannur Sankarankutty and secretary Karivellur Murali, who escorted him to the stage with due honour. True to its classical form, Panchari Melam unfolded in five rhythmic phases. It began in a slow tempo and gradually progressed, reaching a thunderous climax in the fifth phase. Each phase was helmed by master percussionists: Cheranallur Sankarankutty Marar, Tiruvalla Radhakrishna Marar, Porur Haridas, and Vellithiruthi Unni Nair led the second to fifth segments. The ensemble included chenda led by maestro Kizhakkoot Kuttan Marar, kurumkuzhal led by Panamanna Manoharan, kombu by Unni Nair, and ilathalam by Asiad Shashi, along with their respective teams. A remarkable 118 percussionists took the stage together in perfect unison, turning the performance into a living sculpture of sound and motion. With every synchronised beat, the crowd was drawn deeper into the spirit of the Melam. The powerful performance was not just heard—it was felt.
New Indian Express
10-07-2025
- Entertainment
- New Indian Express
Saiju Kurup's Bharathanatyam to get a sequel titled Mohiniyattam
While Krishnadas scripted Bharathanatyam, he is co-writing Mohiniyattam with debutant Vishnu R Pradeep. Sharing more on the sequel, the director added, 'Mohiniyattam's story will pick up from where Bharathanatyam left off, with the main cast returning. There will also be some major cast additions and a shift in genre. We're also making a few changes to the technical crew. This time, we're aiming for a much more eventful film to offer a proper theatrical experience.'
The Hindu
07-07-2025
- Entertainment
- The Hindu
Namami Narayanam retells stories of Krishna through Mohiniyattam
In a performance that shimmered with a quiet elegance and spiritual resonance, Namami Narayanam, a Mohiniyattam dance production, choreographed by guru Shruthi Shoby, was presented at Mylapore Fine Arts Club, as part of the Abbas Cultural Dance Drama Festival. Performed by Shruthi and her disciples from Srishti School of Classical Dance, the thematic production unfolded five timeless stories, themed on Krishna. The strength of this production lay, not in grandeur or opulence, but in its simplicity. The choreography used minimal props, allowing the audience to enjoy fluid movement vocabulary and nuanced abhinaya. that characterise this dance form. The seamless blend of classical compositions in Malayalam, heightened the emotional appeal. The evening opened with the tale of Dhruva, the boy who, abandoned by his father (King Uttanapada) and insulted by his stepmother (Suruchi), undertakes an intense penance to win the grace of Narayana. The portrayal of childlike longing, rejection and divine blessing was moving, with the dancer's restrained expressions evoking Dhruva's unwavering determination. This was followed by the poignant story of Ajamila, a fallen Brahmin, who, despite his moral decline, attains salvation through the inadvertent utterance of the lord's name. The redemptive power of faith and surrender, highlighted during the performance, was a recurring theme throughout the evening. The narrative deepened with the story of Pingala, a courtesan, who renounces worldly pleasures to pursue spiritual awakening. This segment was particularly impactful, as the lead dancer captured both the opulence of Pingala's former life and the serenity that prevailed after her transformation. A dramatic shift in tone came with the fourth story, that of Santana Gopalan, which usually refers to Krishna's birth in challenging circumstances and his early life that was filled with challenges. It symbolises how the infant lord protects and helps one overcome struggles with ease. In this production, the dancer depicted the desperation of a Brahmin grieving over the loss of his children, Arjuna's ego-driven vow and Krishna's eventual intervention. The duet between Arjuna and Krishna, brought out with controlled intensity, was one of the high points of the evening. The finale was a visual treat — Kalinga Narthana — where Krishna dances upon the serpent Kalinga's hoods. This scene was executed with a balance of theatricality and technical finesse, as the dancer's graceful footwork and expressive control brought alive the symbolic subjugation of the ego. The performance was elevated by a well-coordinated team — choreography, concept and nattuvangam are by guru Shruthi Shoby, musicby Thrissur Krishnakumar, lyrics by Kalamandalam Ganeshan, background score and rhythm are by Nagarajan, vocals by Sudev Warrier, violin by Anand Lal and edakka by Thrissur Krishnakumar. Minimalistic yet evocative, Namami Narayanam was a celebration of bhakti through dance and a reminder that grace often lies in restraint.
