Dancers and musicians share the stage at the World Art Show at Bharatiya Vidya Bhavan in Chennai. | Photo courtesy: R. Ravindran
The World Art Show, presented at Bharatiya Vidya Bhavan, Mylapore, was an Indo-Australian collaborative production that brought together Australian jazz, Carnatic music and Bharatanatyam. Conceptualized by Rajeshwari Sainath and Vaishnavi Natya Kendra, the evening was shaped as a reflection on unity, equality and shared humanity, inspired by the idea of ​​Vasudev Kutumbakam: The World as One Family.
The stage arrangement reflected this sentiment. The musicians were seated on both left and right of the stage, creating an elaborate musical structure, while the dancers were in the centre. This arrangement allowed music and movement to be continuously engaged.
The opening piece, Vasantha Pravaham, Guru Karaikudi Mani’s landmark composition for Shruti Laya Band in 1985, set the tone for the evening. Set in Bahudari and Ranjani and structured in multiple talas, the work moved with rhythmic vitality. The choreography responded with clarity, allowing Bharatanatyam’s lines and footwork to flow through the changing rhythm patterns.
In Charukesi, written by Suresh Vaidyanathan, Anand presented a soft, introspective contrast. It manifested through measured movements. A contemporary rhythmic flavor emerges in Dance of the New Grand Mom, another composition by Suresh Vaidyanathan, which completely uses Konakol in Shankarabharanam as its lyrical base. The work transformed the spoken rhythm into a playful, grounded movement.
The presence of jazz became more evident in Pentacle, composed by Adrian S. Western percussion and jazz phrasing introduced a different rhythmic language which the dancers easily navigated while maintaining the basic grammar of Bharatanatyam.
Some pieces evoked memories of Mridangam legend Karaikudi Mani. | Photo Courtesy: R Raveendran
A strong rhythmic statement followed in Thani, choreographed to the intricate rhythm patterns of Guru Karaikudi Mani featuring Thiruvalputtur Kaliyamurthy. Here, strong percussion matches the choreographic pattern, with movement shaped to reflect structure as well as groove.
Throughout the production, rhythm reigns supreme, highlighting how rhythmic compositions can enhance impact.
The evening concluded with New Peace, a rare Sanskrit composition affirming Sri Sathya Sai’s principle ‘Manav Seva Hi Madhav Seva’, with the line ‘Lokha Hitam Mam Karaniyam’ being its emotional core.
Dancers of the evening included Rajeshwari Sainath, Geeta Gawwala, Sangeeta Gawwala, Meenakshi Murali, Keerthi Sri, Gayatri Yenuni and Nishika Madireddy, while musicians included BV Raghavendra Rao (electric violin), UP Raju (mandolin), Adrian Sheriff (shakuhachi and percussion), Tony Hicks (saxophone, clarinet and flute), Suresh Vaidyanathan. (Ghatam and) included. Percussion) and Nagai Narayanan (Mridangam), together shaping the concept
published – January 19, 2026 06:19 pm IST