The word ‘classical’ has achieved a new meaning in today’s world. The boundaries have become porous and the artists are re -defined in their own way. While the cooperation performs high rule in music, Bharatanatyam’s staples have begun to show the flexible core of classical form. Even the list of timely tested demonstrations (Margam) Reinforcement is being done to adjust new approaches. Add it, increased access through social media and technical intervention. It sounds like a great time to be a dancer. Ask Tariha Subramanian, and Pat responds: “It is cute to be a dancer at any time.”
Explaining their reaction, the genre, who has done his masters in theater arts, says: “I have danced under the guidance of my guru Ska Rajratham, when words like ‘viral’ and ‘views’ were not present. Now, I dance in an AI-Integrated era, which for any time, for any time, to trend for any time, with a creative person, a creative person, a creative person, a creative person, a creative person, a creative person, for any time, a creative person, a creative person, a creative person, for any time, for any time, for any time, for a time. To get the best of both tradition and innovation with a creative person.
Look: Vidha Subramanian talks about ‘Damaru’, its latest dress work
Between the rehearsals, the genre reflects on the bipolar – progression and inertia, silence and sound of life – energetic it. It also gives fuel to ‘Damaru’ very much, its first major production, when it transferred the base from America to India. “After the epidemic, I returned to Chennai, which was to re -connect with the culture that defines my journey. It is then that the production began to take shape.”
Watch Vidhi Subramanian explain about the new creation
Video Credit: Special Arrangement
‘Damaru’ was originally designed by the genre as a single route. He later explained the idea in detail and turned it into a dress work. Choreography emerged from a discussion that she dance-scolar S many years ago. Balance and imbalance was done with Jayachandran. This set his thinking. Finally, in Shiva DamaruHe got the relationship of that conversation. “What I was killed about was not a sound about this device, but size.
‘Damaru’ was originally designed by Vidhya as a single Margam: Ini Singh
Today, most classical choreography codes and experimental movements display fluid relations between vocabulars. Most dancers work on rare, spacious sequences. “But the dance is not about the continuous movement. On the contrary, no one should look for moments of peace – Kaarvai – In the dance. Rukas often express more.” Vidya says, who trained in Abhinaya in Abhinaya.
The purpose of the Tariya behind the establishment of the Sparsh Arts Foundation, whose aagis is being presented under ‘Damaru’, was to create an academic space where diverse effects and thoughts reside. “Since 1991, when I started the Lasya Dance Company in California, I wanted to play the role of a catalyst – shaping the artistic philosophy of young mentors. Between the distracted and pressures of modern life, you have to help keep them in art and they have to realize its beauty and power.”
The Vidhan, who has done 12 things before ‘Damaru’, feels that the choreography approach has been informed by the study, research and observation, from relying on predetermined legends and emotional materials, to the study, research and observation of someone. “You act like a building block. But a production is never fully manufactured, it is always a task.
Celebrates the associate spirit of production art. Photo Credit: season Annikishanan
In addition to the dynasty, which leads the contingent of artists, ‘Damaru’ includes Anahita Chaliha, Anisha Parmeswaran, Archa Shajukumar, Manas Vijayachendar, Pranati Ramdorai, Rutuja Kumar Marne and Subashree S, who were selected after an audition. “It is interesting to push yourself to do something outside the person who is comfortable or used to.
The initial point of the contingent of any artist is interaction. Martha Graham, the leading modern dance, believed that it helps in understanding the body and soul of each dancer. “Exchange of ideas and experiences is important to create a collective vision. In ‘Damaru’, it was interesting to see the smoothies to surrender to work through many of their questions and my answers. One day, I sat down and talked about how to think more as a body. Mridangam or tabla?” My response, in a way, a kind of, sets a consecutive reference to the piece – “It is a social level for a social level. Or a holy place, its sound can be allowed to allow it all easily. “
The premiere of ‘Damaru’ will be premiered for Narada Gan Sabha on 13 July (10.30 am). Tickets in Tikkl.
Vidya sees Damaru as a social level. Photo Credit: Courtesy: Nooks beyond this
Published – July 09, 2025 02:37 pm IST
