PunarIKSaNa

Pradosham Performance Review – Bharatanatyam by Srimalli & Shrinagi Venkatesh

On 20th August 2025, at 6:30 pm, the sacred ambience of Mallikeshwarar Temple, Ashok Nagar, witnessed an evening of classical dance as Srimalli and Shrinagi Venkatesh, disciples of Smt. Divya Nair, presented their offering for Pradosham. Their recital was steeped in tradition, drawing from devotional compositions that seamlessly wove together music, poetry, and movement in reverence to the divine.

The performance opened with Nagendra Haraya, Adi Shankaracharya’s Panchakshara Stotram, choreographed by Shri Sheejith Krishna in Ragamalika and Khanda Chapu. With graceful postures and measured rhythm, the dancers evoked the majestic presence of Lord Shiva, whose very essence is contained in the five syllables “Na-Ma-Shi-Va-Ya.”

Srimalli then presented a solo piece—Bantureethi Kolu, a beloved composition of Saint Thyagaraja set in Ragam Hamsanadam and Adi talam. Her rendition conveyed the bhakti of the saint poet, blending intricate footwork with expressive abhinaya that drew the audience into the devotional core of the kriti.

The mood turned contemplative with Shringaralahari, a composition by Mysore Lingaraja Arsu in Ragam Neelambari. For the performers, this piece carried personal significance, and that intimacy showed in their presentation. The gentle flow of Neelambari lent a lullaby-like quality, immersing the audience in its quiet poetry and calm.

Shrinagi followed with Kanakadasa’s evocative Baro Krishnayya, set in Ragamalika and Adi talam. With delicate storytelling, she brought to life the many facets of Krishna—child, cowherd, and divine protector—each shade seamlessly shifting into the next. The transitions between ragas echoed this multiplicity, enhancing the richness of the portrayal.

The recital concluded on an uplifting note with a vibrant Tillana in Ragam Vasanthi and Mishra Chapu talam. Bright rhythms and joyful movements filled the temple courtyard, leaving the evening on a celebratory high.

While the evening offered much beauty in its choice of compositions and thoughtful choreography, there were moments when the pacing and presentation felt a little restrained. The drawn-out progression of the pieces, though deeply rooted in tradition, may have made it harder for some members of the audience to fully engage with the performance. In classical dance, especially in community settings like Pradosham, it becomes important not only to stay true to the art form but also to help the audience enter into it with ease. Bridging this gap—between the richness of tradition and the receptivity of the crowd—can make the experience both authentic and accessible, allowing the art to resonate more deeply with everyone present.

It is precisely for this reason that initiatives like Pradosham hold such value. They create spaces where artistes and audiences come together in shared reverence, where temple courtyards become platforms for tradition to stay alive in lived experience. Each performance, whether meditative or vibrant, invites the community to witness classical art not as something distant, but as something that belongs to them. Pradosham thus becomes more than a series of performances—it is a gathering of people, of stories, and of devotion, reminding us that art has the power to unite, uplift, and keep our cultural heritage breathing in the present moment. Glimpse of Performance