Tribute to temple dances by Bala Devi Chandrashekar in Delhi

Critically acclaimed Bharatanatyam dancer Bala Devi Chandrashekar captivated the audience with her dance performance on Monday at Delhi’s India International Centre.

Published: 13th August 2019 07:46 AM  |   Last Updated: 13th August 2019 07:46 AM   |  A+A-

Lord Shiva's Lasya and Thandava sought to be captured by young artistes performing the classical Bharatanatyam dance as part of Maha Shivaratri celebrations at the renowned Brihadeeswarar temple (Big Temple) In Thanjavur. (M K Ashok Kumar | EPS)

Image for representational purpose.

By Express News Service

Critically acclaimed Bharatanatyam dancer Bala Devi Chandrashekar captivated the audience with her dance performance on Monday at Delhi’s India International Centre.

For the performance, titled Brihadeeswara: Form to Formless through the Eyes of a Devaradiyaal, she takes the reference from a Hindu temple Brihadeeswara dedicated to Lord Shiva located in Thanjavur, Tamil Nadu, India. Shiva is considered the deity of this dance form.

Bharatanatyam exponent
Bala Devi Chandrashekar.

Chandrashekar speaks to The Morning Standard on her interest in Bharatanatyam. “I started dancing at the age of six and was actively dancing as a part of her school curriculum. Over the last 25 years I have given over 300 performances across 30 countries. Through this dance I attempt to interpret ancient philosophical and spiritual concepts in a contemporary take. I strongly focus on research for preparation.”

According to Chandrashekar, this is one of her unique production.

It takes into account the architecture of  Brihadeeswara temple commissioned by Raja Raja Chola 1.

The performance weaved the connection between the physical, metaphysical, lyrical and spiritual significance of each facet of the magnificent structure, which was completed in 1010 AD. Chandrashekar says, “Devaradiyaal literally means the one who has surrendered herself at the feet of the Lord and one who leads the purest of pure lives.

This production celebrates the soul of the dancer immersed in the spiritual fervour.

It pervades the spellbinding edifice built by Raja Raja Chola. The intertwining of the spatial and spiritual vibrations experienced by the Devaradiyaal comes alive in the production as the dancer goes about her day to day life in the hallowed premises of the architectural wonder that is the Brihadeeswara temple.”

This performance also explored the many facets of Karna’s emotions trapped in moral dilemmas, his angst and conflict with which he grew up.

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