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The Hindu
2 days ago
- Entertainment
- The Hindu
When a mall's atrium turned into a stage
The atrium of VR Chennai in Anna Nagar echoed with music and sounds of the salangai during 'Pradosha Arpana', an event curated by Laasya Dance Academy, Bengaluru. Anchored around the legend of Pradosham, when Shiva drank the deadly poison and danced to restore the cosmic balance, the evening unfolded before a majestic 10-ft Nandi. The evening featured Bengaluru-based young Bharatanatyam artiste Nithyashree, who presented three pieces that she performed more as an offering. She commenced with 'Pradosha Samayadi', set to raga Purvikalyani and Adi tala, which made for a fitting invocation. Composed by Padma Charan and choreographed by Gowri Sagar, the dance evoked the solemnity of twilight, when Shiva dances in response to the gods' prayers. The interplay between the rhythm of Ganesha's drums and Shiva's cosmic dance was conveyed through confident footwork and apt abhinaya. The second item 'Thillai ambalam shabdam', brought a shift in the tone . This Ragamalika piece, set to Adi Tala, traced the emotional arc of a devout woman pining for Nataraja, the Lord of Chidambaram. The shabdam, composed by Thanjavur Arunachalam Pillai, offered Nithyashree an opportunity to delve into the layered emotions of Virahotkandhita nayika (one of the eight types of heroines in classical dance called Ashta Nayika, who suffers the pangs of separation) . The final piece, a Shiva padam, was a crescendo in every sense. Composed by G. Gurumurthy with music by Bala Subramanya Sharma, the choreography celebrated Shiva as the embodiment of the five elements, the seven swaras, and the Omkara. Nithyashree's transitions between vigorous Tandava and delicate Lasya mirrored the duality of Ardhanarishwara, the union of Shiva and Shakti. Pradosha Arpana was not just a Bharatanatyam recital, but a reclaiming of a public space for cultural memory — reminding you that even amongst the most urban settings, spirituality can be invoked through dance .
The Hindu
27-05-2025
- Entertainment
- The Hindu
S. Swarathmika chose only Pratimadhyamam ragas for her concert themed on Gopalakrishna Bharathi
It came as no surprise that S. Swarathmika's concert, dedicated to the compositions of Gopalakrishna Bharathi and presented under the aegis of The Music Academy at the Kasturi Srinivasan Hall, was a fitting reflection of the steady strides she has been making in her budding career. What did come as a surprise, however, was her choice of pratimadhyamam ragas only — Purvikalyani and Varali — for exploration, bypassing the more abundant suddhamadhyamam variety. Given Swarathmika's lineage — she is the granddaughter of the late Leelavathy Gopalakrishnan — one might have expected her to strike a balance by drawing from her sizeable repertoire within the composer's corpus. That said, the vocalist carved out a compelling performance, invoking the grace of the cosmic dancer, Nataraja. She was well-supported by Chaganti Ramya Kiranmayi on the violin and Kundurthi Aravind on the mridangam. Gopalakrishna Bharathi, a 19th-century composer singularly devoted to the dancing deity of Chidambaram, elevates Nataraja not just as a religious icon but as a cosmic principle — a metaphysical embodiment of the universe — connecting divinity, motion, matter and time. His portrayal of the Lord's dance is not merely mythic or artistic; it is a profound philosophical metaphor for the rhythm of the universe, as discernible in several of his compositions. A brisk start Swarathmika struck a note of surrender to the Lord through 'Saranagatham enru' in Gowlai, setting a brisk opening. She enhanced its appeal with a swara sequence that was as lively as it was nuanced. 'Chidambaram enroru tharam sonnaal' in Begada, which suggests the shortcut to the divine sanctuary, was sung with devotional fervour. The Purvikalyani alapana unfurled loopy phrases, flashy forays, swirling sancharas, and long notes, particularly in the upper registers, and brought out the raga's evocative mood in ample measure. Ramya Kiranmayi's bow work produced an interpretation that closely mirrored the vocalist's ideas. After a delectable rendition of the song 'Natamadum nathan', set to Khanda Chapu, Swarathmika led the well-crafted swara exchanges in which the concluding avarthanam stood out. 'Thaa thaa thaa nee' in Karaharapriya, a seldom-heard song with a delicate pallavi, was an interesting choice. Swarathmika negotiated it with calm assurance. Swarathmika featured Varali as the main raga and her delineation progressed, gathering flair and momentum, textured with polished gamakas. Ramya Kiranmayi once again displayed a keen melodic sensibility in her response. The composition 'Adiya paadhame gatiyenru' followed. There is an unmistakable felicity in her kriti rendition, and this challenging song was no exception. The niraval at the anupallavi opening 'Naadu pugazhndhidum' was a graceful exposition, and the kalpanaswaras sparkled with vitality. Mridangist Aravind, brought in a lively rhythmic presence, and his Adi talam tani carried interesting patterns and vibrant strokes. 'Adum chidambaramo', a popular number in Behag, was sung next, and 'Kanakasabhai thirunatanam' in Surutti brought the curtain down on a refined recital.
