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 Alar Arvind’s brilliant Kathak solo shines at Youth Dance Festival 2025- Sugunan Ke-mail: kskannur2015@gmail.com September 9, 2025 On the evening of August 27, 2025 Medai, Bengaluru, became a sanctum of rhythm and reverence as dancer Alar Arvind unveiled Ākhyāna, a solo Kathak recital that illuminated the Youth Dance Festival with spiritual depth and artistic finesse. Daughter and disciple of Guru Chitra Arvind, Artistic Director of Rhythmotion, Alar seamlessly wove sacred narration into movement, drawing from her training in Kathak, Bharatanatyam, and Contemporary dance. Her performance, marked by lyrical precision and emotive storytelling, offered a rare confluence of youthful vitality and timeless devotion, leaving the audience entranced.  The evening unfolded with a serene invocation to Saraswati, “Ya kundendu tushara hara dhavalaa” gracefully rendered by Alar Arvind, casting a gentle veil of sanctity over the stage. Her poised movements and meditative rhythm set the tone for a recital steeped in devotion and finesse. This tranquil opening gave way to Jai Ganesh, a spirited composition performed on Ganesh Chaturthi, where Alar’s crisp footwork and nuanced abhinaya brought to life the tale of young Ganesha thwarting Ravana’s quest for the Atma Linga. With rhythmic vitality and expressive storytelling, she bridged mythology and emotion, earning heartfelt appreciation from an audience visibly moved by the confluence of tradition and artistry. In ‘Shankara Mahadev - a Dance of Divine Duality,’ Alar Arvind conjured a celestial tapestry of rhythm and myth. Her performance anchored in Shiva Stuti, unveiled the fierce tandava and tender lasya with breathtaking nuance. Through sweeping chakkars and commanding nritta, Alar’s portrayal of Tripura Dahana radiated cosmic intensity, while her expressive abhinaya traced the descent of the Ganga and the salvation of Bhakta Markandeya with devotional grace. The compositions of Shankar Shanbhogue enriched the recital with sonic depth, while Guru Chitra Arvind’s choreography offered clarity and emotive finesse. Together, they shaped an evening of luminous storytelling, where rhythm met reverence, and dance became divine invocation.  The evening’s emotional zenith arrived with “Haririha mugdha vadhu nikare” from Jayadeva’s Gita Govinda, where Alar embodied Radha’s anguish amidst the bloom of spring—her longing, jealousy, and despair rendered with exquisite sensitivity. Seamlessly shifting between the sakhi’s narration and Radha’s inner world, Alar’s portrayal revealed a deepening maturity, drawing the audience into the heart of divine yearning. From the serene invocations to Saraswati to the stirring echoes of Radha’s love, Alar’s recital stood as a luminous testament to the transformative power of classical dance, where devotion meets imagination, and tradition breathes anew.  Sugunan K is a freelance journalist and cultural chronicler from Kerala. |
