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The Hindu
25-06-2025
- Entertainment
- The Hindu
Aparna Mohan and her refreshing Bharatanatyam recital
Aparna Mohan's Bharatanatyam recital, though rooted in tradition, had a freshness to it. Hailing from Thrissurand trained under gurus, Shafiquddin and Shabana, Aparna presented a well-structured recital, which was a part of the Natyarangam monthly series. She began with a Ganapathy stuti in raga Tilang and Adi tala, a composition by Agathiyar titled 'Prabho Ganapathe'. This opening piece was performed with clarity in footwork and composed expressions, setting a devotional tone for the evening. The central piece of the evening was the varnam, 'Sakhiye indha velaiyil', in raga Ananda Bhairavi and Adi tala, composed by the Thanjavur Quartet. This composition depicts a nayika's yearning for her beloved Lord Rajagopala of Mannargudi. Aparna portrayed the conversation between the nayika and hersakhi with convincing expressions. Particularly notable was her subtle use of eyes, conveying love, longing and impatience. The sancharis (narrative sequences) were brought out with clarity, especially when she compares her sakhi to a peacock or when she is struck by the arrows of Manmatha. Her footwork was well-paced and confident, providing rhythmic depth without overwhelming the emotive aspect of the performance. Next came the padam, 'Theruvil varano', composed by Muthu Thandavar in raga Khamas and Rupaka tala. This evocative piece allowed the dancer to delve deeper into the realm of abhinaya. As a maiden longing for Lord Nataraja, her expressive storytelling stood out. The moment when she imagined the Lord standing at her doorstep whispering secrets was delicately portrayed. Her hand movements were soft and precise, and the subtle changes in expression effectively captured the transitions from hope to frustration and, finally, acceptance. Aparna concluded her recital with a vibrant thillana in raga Dhanashree and Adi tala, a composition of Swati Tirunal. This brisk piece provided a fitting end to the performance. The choreography showcased neat rhythmic patterns, while her costume and jewellery added to the visual appeal. The nattuvangam support kept the rhythm lively.
The Hindu
17-06-2025
- 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 .
