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Nina Rajarani Dance Creations: Srishti Pathways

Writer's picture: Janejira MatthewsJanejira Matthews

Updated: Jan 19

Article originally written 03 March 2024


Srishti Pathways. Image: Idriss Assoumanou
Srishti Pathways. Image: Idriss Assoumanou


A circle of four dancers, centre stage. Torsos tilt, eyes awaken. As the dance progresses, the dancers slip amongst each other, two broaching the edge of the stage. Arms open outwards to the audience, mudras flickering through their fingers. The rasa is so powerfully evoked through each gesture and gaze that the invisible barrier between stage and auditorium crumbles, luring the audience into a world ruled by rhythm and movement.

 

The performance that is so captivating is the last night of Srishti Pathways at the Bhavan,

Kensington. Brought to fruition by Nina Rajarani MBE, Srishti Pathways is a year-long

Bharatanatyam project launched in 2023 providing a select group of dancers the opportunity to conduct school workshops and perform, as a way of passing on the art form to the next generation. The four dancers, Linnea Husmann, Mithesha Mageswaran, Disha Varsani and Ritu Raj have effectively been working as full-time dancers whilst having their own jobs or studying. Each dancer has her own nuance on stage yet reflects the person beside her, given that all four dancers have separate teachers and backgrounds.

 

The first dance, a traditional-style invocation to Lord Ganesha, marks a strong precedent for the rest of the evening. A smooth, measured dance, the arms sweep back and forth in a curve at the front of the body, extending out to the side in a seamless motion. The months of intense rehearsal are evident in the way that the dancers’ bond as a group is never lost. It is often said of a good corps de ballets that not a toe is out of place; in Srishti Pathway’s Bharatanatyam dancers, not an eyelid. However, the unity of the dancers runs deeper than rhythmic and kinetic precision. Later, during a call-and-response section between the dancers and the music in the final piece, one pair of dancers acknowledges and observes the other two with unwavering attention.  The group is so intensely present that it is clear that the performance is not just a regurgitated show but a way of being. It is this way of being that characterises the first dance; a sharp, singular focus appears to reside in the body and spreads itself throughout the limbs and glistens in the eye. The dancers’ gaze enraptures the dance, cultivating a stirring devotion to Bharatanatyam itself as an art form.  

 

The following pieces include a tribute to Devi, goddess of femininity, a traditional style Pallavi and the final piece titled Nrityopahara. The tribute to Devi is choreographed by Mavin Khoo (often encountered in contemporary dance as a creative associate of Akram Khan), with all other dances choreographed by Nina Rajarani. The tribute is set at a steady tempo and is rich with narrative. Growing from a sloping line spiralling downstage with rounded arms arcing in canon, we are treated with scenes of Devi destroying embodiments of ignorance, the dancers’ eyes popping and tongues protruding in portrayal of Devi. It is a memorable way to conclude the first half, and a reminder that embracing stories is just as vital as admiring technique. 

 

 

Following a talk from Rajarani discussing the project, the Pallavi opens the second half. The

Pallavi emphasises musicality and pure movement rather than narrative and is a

Bharatanatyam staple. Although short, its impression is energetic and upbeat, intelligently gearing the performance up for the climactic Nrityopahara. Rhythmically challenging, fastpaced and delightful, the dancers execute accented footwork by alternately tapping the floor with the ball and heel of the foot in perfect keeping with the music. A soft sway in the upper body paired with complex but clean interweaving spatial patterns stabilises the fastest sections. Varsani is given two solos that send her arms slickly splitting outwards before returning to the centre of her chest as her legs bend and feet punctuate the floor. Her confidence is unwavering, her smile only betraying the obvious joy she and her peers find in the dance. It’s infectious, and it’s hard to believe that anyone absent isn’t wasting their Sunday evening.

 

The whole performance is considerable given that the dancers are students, and not experienced professionals. Rajarani’s Srishti Pathways is an example of what young people can do when given the opportunity to thrive in the arts, even in a country where funding is hard to come by and even easier to lose. Bharatanatyam is apparently becoming increasingly visible in South-East England and London, so although Srishti Pathways has completed its tour, there will be ample opportunity for those living in the area to see Bharatanatyam performances by various artists in the future.

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