The anklets jingle announcing the story that is yet to unfold; the artistes invite the audience to merge into the setting they have created. The Kathak dancer spins, the soft folds of their costume following in perfect synchrony, tracing arcs in the air. The storytelling unfurls with every flick of the wrist, every deliberate pause, every shift of expression.
At Art Kin Centre’s Baithak Chamber Concert, the setting is personal. The viewers sit close enough to catch the emotions in the dancer’s eyes, the subtle shifts in movement, and the silent conversations between rhythm and expression. Kathak duo Hari and Chethana Hari, who will soon take to this stage, find this special.
Chethana reflects, “There’s a huge difference in performing in intimate spaces because, in the larger audience, they will try to watch a performance, and there’s very little scope for interaction with the artiste. I think in intimate sessions like these, the audience can see every detail, expressions, and the concept, very well.”
For Hari, such settings offer a rare chance to truly connect with the audience. “When you are in a huge sabha, it’s a big stage. The distance between the audience and you is a lot, and there’s a lot of lighting, so you don’t even see the last person sitting there. Here, I can see each person, how they are watching, how they are feeling.”
Founder and visual artist Anahata Sundarmurthy and co-founder and dancer, Shruthe Raammohan, built The Art Kin Centre on the ethos of bringing audiences and artistes closer, making performances an exchange rather than a spectacle. Anahata says, “We give the audience a chance to understand the art form, the mechanisms; they can ask questions, and have the opportunity to do so directly with the artistes.”
This connection between the performer and the viewer brings with it a new way of experiencing classical art forms. Kathak, at its core, is storytelling in motion. “But, of course, there have been a lot of innovations and creations during the time. We still perform traditionally, because that is the foundation,” Chethana says. Yet, there is a need for evolution. She adds, “There’s a lot of change that has happened. We are bringing up concepts of social awareness about women. There are so many things that one couldn’t imagine before, being done now, which is good because art is also evolving, and I think it should evolve with time.”
For Hari, this evolution is not just about themes but also about artistic choices. He says, “There are things that are traditional, and there are things that are created. We cannot be confined only to the traditional aspect of dance. We need to be open to new things, but at the same time, we need to make sure that we are not diluting it completely.”
Their creative process is a careful balance of structure and fluidity, of discipline and innovation. Their approach to choreographing and performing is collaborative. Chethana says, “We both talk about the concept because, in one concept, we need music. So we make music for that, and we come together to choreograph a piece and then decide on the costume. It’s teamwork. The creative part of it is all Hari, and I also give him a lot of input.”
For the Chennai audience, the performance at Art Kin Centre is not just a showcase but an invitation to see the layers beneath the movement, to grasp the nuances of a centuries-old tradition in a way that is rare in large-scale performances. Anahata believes the city is ready for this kind of engagement. “Kathak is a beautiful art form. In Kathak, ‘katha’ means story, and if people take the time, they would understand it like Bharatanatyam. Kathak also has a dance language.”
For details, visit @artkincentre on Instagram.