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 A Kuchipudi offering of joy, lineage and lived devotion- Sujata Chakrabortye-mail: vedishaarts@gmail.com February 12, 2026 As a fellow classical dancer and educator, I was captivated by the sheer passion and joy that brought every movement to life - dance not just performed, but lived. This recital, presented at the Pongal Dance Festival on January 16, 2026 in the Main Hall of Krishna Gana Sabha in Chennai, was a vivid reminder that classical dance is both a personal delight and a sacred responsibility, rooted in lineage, devotion, and heartfelt expression. The recital opened with "Pari pari ni padame," the evocative composition of Dr. M. Balamuralikrishna in Hamsadhwani ragam and adi talam, choreographed by Guru Jaikishore Mosalikanti. The invocation to Lord Ganesha was rendered with quiet reverence, establishing a sacred space from the very first movement. The live orchestra played a vital role in shaping this atmosphere, with Guru Jaikishore Mosalikanti’s nattuvangam providing rhythmic clarity and compositional integrity. "Swagatam Kṛishṇa," the beloved composition of Oothukkadu Venkata Kavi, choreographed by Dr. Sobha Naidu in Mohana ragam, unfolded with warmth and lyrical ease. Vocalist Janani Hamsini brought expressive depth to the sahitya, supported by Aditya Sreeram’s violin and B. Muthukumar’s flute, whose melodic interweavings enhanced the narrative flow. B. P. Haribabu’s mridangam grounded the performance with measured precision and sensitivity.  Pranamya Suri (Photo: Ashwin) The Rukmini Tarangam from Narayana Tirtha’s Sri Kṛishṇa Leela Tarangiṇi, choreographed by Guru Srilatha Suri, formed a compelling emotional arc in the recital. The Rukmini Kalyaṇam was approached with restraint and devotional depth, with the sanchari passages unfolding organically - an aspect that resonated deeply from a pedagogical perspective. "Marulu Minchera" composed by Dr. M. Balamuralikrishna in Cencuriṭi ragam and misra chapu talam and choreographed by Guru Srilatha Suri, stood out for its nuanced abhinaya. The nayika’s emotional landscape - waiting, longing, blossoming joy, and vulnerability - was mirrored through floral and lunar imagery with sensitivity. Subtle musical cues from the orchestra allowed the dancer space to explore these emotional transitions with maturity. The recital concluded with a spirited Behag Tillana, choreographed by Jaikishore Mosalikanti. The crisp nritta passages, rhythmic vitality, and sculptural poses were ably supported by the cohesive energy of the ensemble. Lighting design by Keerti Kumar enhanced the stage picture, underscoring mood and movement without distraction. What lingered most was the dancer’s palpable joy - a reminder that dance is a living, breathing experience. A medical practitioner by profession, Dr. Suri brought to the stage an honesty and warmth that reflected her belief that dance is first and foremost about joy - an inner calling that draws one back to practice every day. Beyond technique and repertoire, the recital reflected a deep awareness of responsibility: to carry forward what our gurus have given so selflessly. From one practitioner to another, this evening was both inspiring and grounding, reaffirming why we dance, why we teach, and why we continue to honor these timeless traditions.  Sujata Chakraborty is a creative Bharatanatyam dancer and cultural entrepreneur currently based in Denver, Colorado. |
