PunarIKSaNa

Performance Review – Kirti Kurande at Arulmigu Mallikeshwarar Temple, Pradosham Series

On the auspicious evening of October 22, 2025, at the sacred Mallikeshwara Temple in Ashok Nagar, Chennai, dancer Kirti Kurande took the stage as part of Nirvikalpa’s Pradosham series (an initiative that brings classical art back to its spiritual roots in temple spaces.) Her thoughtfully curated repertoire paid homage to both the spiritual and technical depth of Kathak, offering the audience a journey from invocation to rhythm, from devotion to dialogue, and finally, to pure joy through movement.

Kirti began with Shiva Stuti, invoking Lord Shiva in all his cosmic grandeur. Her portrayal of Shiva as Nataraja, holding the Ganga in his hair and adorned with the crescent moon, filled the courtyard with a quiet, powerful energy. The temple setting seemed to come alive with every rhythmic step and gesture, as devotion and artistry blended seamlessly into one.

She followed this with Taal Teentaal, a complex rhythmic composition that showcased the precision and strength of Kathak. A particularly striking moment came when Kirti paused mid-performance to explain the nuances of the taal to the audience, many of whom were witnessing Kathak for the very first time. She broke down the structure of the rhythm, helping them recognize how the syllables, beats, and footwork intertwined. It was a simple yet powerful act that bridged the gap between performer and spectator. Art grows only when people are helped to understand what unfolds before them, and this thoughtful gesture turned what could have been a passive experience into a shared awakening.

Next came Thumri, a composition by Pt. Bindadin Maharaj: Aavat Shyam Lachak Chale, Mukut Dhare. Through delicate expressions and graceful movements, Kirti brought to life Krishna’s journey: as the mischievous child, the playful youth of Vrindavan, and the charming divine lover. Her abhinaya was unforced and heartfelt, and it was clear she wasn’t merely dancing to music but expressing emotion that ran deep and true.

In Shiva Parvati Samvaad, she explored the tender, human side of divinity: a playful yet affectionate exchange between Shiva and Parvati, filled with love, complaint, and understanding. The piece reminded everyone that mythology often mirrors real human emotion, and in Kirti’s portrayal, their story felt both divine and familiar.

She concluded the evening with Tarana, a bright and energetic piece that brought the performance full circle. The rhythm, pace, and movement had the audience clapping along - a fitting finale to a recital that had carried them through devotion, expression, and sheer joy.

There were several moments during the evening that reminded us why initiatives like Pradosham truly make a difference. One such moment was when a member of the audience, someone who had never witnessed a Kathak performance before and did not understand Hindi or Sanskrit, came up on stage to honour Kirti with a cash gift as a mark of appreciation for her art. That moment said it all.

Pradosham doesn’t just give dancers a platform. It creates spaces where art can breathe freely and where audiences can rediscover a shared sense of connection that feels almost sacred. When classical dance returns to temple courtyards, away from stage lights and ticketed seats, something changes. The performer and the audience meet on equal ground, both part of the same act of devotion.

Kirti’s performance captured that spirit perfectly. The way she took time to explain Taal Teentaal to newcomers and made rhythm and movement feel accessible is exactly what keeps art alive. She did not just perform; she invited everyone to understand and feel the dance with her.

When such dancers bridge that gap and help people see, feel, and connect, they help art find its way back to where it has always belonged, among the people. And that is what Pradosham is really about, reminding us that art should never be guarded or distant. It belongs to everyone, across regions, languages, and backgrounds.