Event Details

Mohiniattam – Dr. Sunanda Nair & Troupe

Odissi – Bichitrananda Swain’s Rudrakshya Foundation

An NCPA Presentation

Dr. Sunanda Nair is one of India’s foremost exponents of Mohiniattam, the graceful classical dance form of Kerala. She holds the distinction of being the first student in India to earn a master’s degree in Mohiniattam from Nalanda Nritya Kala Mahavidyalaya, affiliated with the University of Mumbai. She further deepened her academic engagement with the form by earning a Ph.D. in Dance from the University of Mumbai under the guidance of Padma Bhushan Dr. Kanak Rele, with her research titled “The Intrinsic Lyrical Feminism in Mohiniattam.” A senior disciple of Dr. Rele, Dr. Nair has trained extensively in the form and has built a distinguished career as a performer, choreographer, and educator. Recognised for her lyrical grace and emotive depth, she has performed at numerous prestigious national and international festivals, including a landmark appearance at Carnegie Hall, New York, accompanied by her senior students as part of the Festival of India. She is an A-grade artiste of Doordarshan, an empanelled artiste of the Indian Council for Cultural Relations (ICCR) and has consistently received critical acclaim for her performances. Her contributions to Indian classical dance have been honoured with several prestigious awards, including the Kalashree by Kerala Sangeetha Nataka Akademi, Kalarathnam by Kerala Kalamandalam, Nalanda Kanaka Nartana Puraskaar by Nalanda Dance Research Centre, and the Singar Mani by Sur Singar Samsad, Mumbai among others. She has also received a scholarship from the Central Sangeet Natak Akademi for advanced training in abhinaya and choreography from Dr Kanak Rele. At the turn of the century, India Today named her among the 50 most promising dancers in the country, cementing her legacy as a leading figure in the field of Mohiniattam.

‘Divyarpanam’- A divine dedication

1. Ganapathy Talam -set in Ragamalika and Talamalika A distinctive and intricate rhythmic cycle often dedicated to Lord Ganesha, the remover of obstacles and patron of the arts. Known for its unique structure, it challenges and enriches a performer’s rhythmic skills. This talam symbolizes Ganesha’s qualities of balance, wisdom, and creativity, mirroring his ability to harmonize complexity. Widely used in Indian classical music and dance, it brings a sense of devotional depth and dynamic energy to performances. Ganapathy Talam reflects the performer’s mastery over rhythm, blending tradition with innovation to honor the divine. Choreography-Dr Sunanda Nair

2. Panchari Katla – Ragam Samandamalahari, Talam- Panchari This is a composition by Sri. Kavalam Narayana Panicker which showcases the depth of the raagam sand taalam. Various adavu patterns are woven together in an intricate manner to visualize the possibilities of combinations allowed by this six-beat tala. The choreographic nuances by Dr. Sunanda Nair, enhances the beauty of the raga thala combination making this piece a visual treat. This is inspired by Dr Kanak Rele’s choreography.

3. Kartyayani Devi- Irayimman Thampi’s composition on Katyayani Devi is a devotional hymn praising the goddess, known for granting boons and fulfilling desires. The lyrics highlight her divine beauty, strength, and compassionate nature as the protector of her devotees. Set to soulful ragas, the composition evokes a deep sense of bhakti (devotion) and spiritual connection. Katyayani Devi is revered as the remover of obstacles. Thampi’s poetic genius is evident in the rich imagery and rhythmic beauty of the verses. This composition continues to inspire both musicians and dancers, celebrating the divine feminine Choreography-Dr Sunanda Nair

Dancers: Uvika Aravind, Suja Pillai, Arathi Remesh, Swathy Mohan & Binduja Nair
Vocal: Kalamandalam Gireesan Maravancherry
Nattuvangam: RLV Hemanth Lakshman
Mridangam: Shri Satish Krishnamurthy
Edakka: Shri P.Nandakumar
Flute: Shri Bharat Raj
Violin: Shri Balasubramanian Ramakrishnan

Bichitrananda Swain is a renowned choreographer and performer of Odissi, known for his energetic, thought-provoking compositions. He has achieved worldwide recognition as an outstanding performer, a brilliant choreographer, and an exceptional teacher, who has earned the distinction of generating remarkable talents year after year. Widely acclaimed as one of today’s prominent choreographers of Odissi, he is known for his distinctive body of work that echoes his knowledge and understanding of dance as a medium of expression. His compositions are energetic, thought-provoking and inspiring. Swain has been, for over two decades, creating outstanding dancers through a holistic approach to dance that includes developing body discipline (through yoga and pranayama), allowing for creativity (through theoretical and practical training), and enhancing sensitivity (through appreciation of aesthetics). His dance institution, Rudrakshya Foundation (established in 2001), has emerged as one of the most successful training centers for aspiring dancers from India and abroad.

He has had the rare opportunity to study Odissi with the chief architects of Odissi – Padmashri Guru Pankaj Charan Das, Guru Debaprasad Das and Padma Vibhushan Guru Kelucharan Mohapatra- also known as the “trinity” of Odissi. Swain has been a recipient of the Nrutya Madhuram, Padmashri Guru Gangadhar Pradhan Smruti Samman, and Utkal Pratibha Samman among others.

Tala Taranga
Taal Tarang is a pure dance piece that is a beautiful blend of different percussion instruments i.e. Mardal, Mrudanga, and Khanjani or symbol. This piece involves an innovative choreography that uses different percussion instruments to give a new dimension to Odissi music. Taal Tarang meaning, Rhythmic waves is choreographed maintaining or following all the techniques, Grammar, Movements, Emotions, Beauty, and Grace of Odissi dance. Though it is based on one particular taal it has been composed with different Chhanda or rhythmic patterns and laya or speed.

Dance Choreography: Guru Sri Bichitrananda Swain
Music Composition: Guru Sri Ramahari Das
Rhythm Composition: Guru Sri Dhaneswar Swain

Yaha Krishna Saha Kali
Yaha Krishna Saha Kaali, meaning he who is lord Krishna is also Goddess Kaali. This beautiful composition explores the many similarities and contrasts between Krishan and Goddess Kaali. While Krishna preserves the cosmos with compassion, Kaali maintains the cycle of birth and death with her ferocity. Beginning with the primordial sound OMM, followed by the hymns- KLEEM for Krishan and KREEM for Kaali, the dance encompasses the devotee’s visions of the dissimilarities and similarities between Krishan and Kaali. Krishna, the incarnation of Vishnu and Kaali, the incarnation of Shakti, descend upon earth to eliminate evil and restore peace. Krishan, the compassionate one and Kaali, the fierce one, are portrayed as Shyama and Shyama or (Dark) in complexion- darkness-symbolizing the cosmos and devouring of evil. Krishna lives in Vrindavan, surrounded by gentle white Cows; Kaali, lives in the cremation ground surrounded by howling Jackals. Krishan dance with Gopikas near river Yamuna and Kaali dances in a sea of blood. Krishna is pitambari-clad in yellow robes with a garland of flowers; and Kaali is Digambari-naked-with garland of human skulls. Krishna wears sandal tilak and ornaments; and Kaali wears vermillion on her forehead, snake as her sacred thread, human bones as her waist band and conch shells as her bangles. Krishan, is lotus-eyed and charming, playing the flute to lure the Gopikas, devoted to his beloved Radha; and Kaali depicted dauntingly with skull and sword in her hand, is the divine consort of Lord Shiva. However the outward dichotomy ceases to exist as the devotee envisions both as complementary to and merging into each other. Krishna and Kaali, Shyama and Shyamaa are aspects of the one and only truth; – the supreme’s Maya or illusion-hence beyond human comprehension.

Dance Choreography: Guru Sri Bichitrananda Swain
Music Composition: Guru Sri Ramahari Das
Rhythm Composition: Guru Sri Dhaneswar Swain

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