Nritya’s Maata Parashakthi Steeped in Spirituality, Evocative Portrayal
By Kalyani Giri
Last Updated: December 05, 2008

HOUSTON: Lovers of the Indian
classical arts that reside in this sprawling city are blessed with the good fortune of having to look no further than to within our own community for a vividly evolved cultural palette of music and dance. Teachers of formidable talent abound, suffusing the stark Texan canvas with the opulent textures of India’s cultural heritage.

Outstanding among these messiahs
of the arts is Padmini Chari, the highly regarded Artistic Director of the Nritya School of Dance who hails from Thanjavur, the cultural heartland of South India. After traversing several countries
where she taught her craft, she made her home in this city and has nurtured and mentored hundreds of students in the hallowed Kalakshetra style of Bharatha Natyam through Nritya for over twenty-six years. This past weekend, November
29, 2008, Padmini Chari and the students and alumni of Nritya presented Maata Parashakthi, a Bharatha Natyam dance ballet, to a capacity audience at the Kaplan Theater of the Jewish Community Center. The performance, sophisticated
in choreography and imbued with devout spiritualism, was a compelling tribute to the Mother Goddess Devi in all Her divine manifestations. First to be worshiped was Bhoomi Devi, Mother Earth, whose enduring spirit bearsall careless treatment of her with patience. Gracing the stage for the Devi Stuthi in Kedaragowla Raga, Chari described Devi Parvati as the creator of the world to whom even the gods pay obeisance. The item Parashakthi in Raga Khamboji carried the
theme of creation forward as an arrangement of five gifted young dancers in synchronized patterns of movement illustrated the five elements that constitute the earth.

Nityakalyani showcased the majestic confluence of music and dance. Set against the radiance of a garland of impassioned ragas, the dancers demonstrated the hallmark neatness of the Kalakshetra style to lyrics interspersed with
strings of notation; this piece also gave the dancers ample opportunity for elaborate storytelling through abhinaya.

The poet Adi Sankara’s Soundarya Lahiri reiterated the abhinaya or emotive aspect of dance as guru and students displayed vignettes of the navarasas, the nine emotions of Indian classical dance. The title piece, Maata Parashakthi, a gem scribed by the inimitable Tamil poet and prolific freedom fighter Subramanya Bharathiar, came vividly to life under the spirited ministrations of the Nritya ensemble. Parashakthi is praised as the Mother of the sacred Vedas, and as Sarawathi, the goddess of the arts. Choreographed jointly by Chari and her own gurus, the Dhananjayans, the piece incorporated traditional and contemporary movements.

Joining their guru Padmini Chari on stage in Maata Parashakthi were Nadhi Thekkek, Surabi Veeraraghavan, Divya, Charanya, Anasuya, Akila, Shruti, Shubha, Asha, Kavya, Sheila, and Sarah Joseph. Dr. Mohan Chari presented
a well-researched commentary on the various dances performed that evening. For more information on the Nritya School of Dance, visit http://www.nrityahouston.com