Christina Prakanthan Ādal
Over 80 Bharatanatyam performers from diverse age groups from Christina Prakanthan’s Natyatharu School of Dance got together to present a concert recently.
Quite appropriately, the institute’s annual showcase at the CRCCS Performing Arts Centre was named Ādal, Tamil for ‘dance’.
The audience, resplendent in their saris, kurtas, and pattu pavadais, exuded the vibe of Margazhi Mahotsavam, a month-long cultural festival held every December in Chennai. Among those present were Acharya Ratna Ravi M. Ravichandhira OAM and Acharya Ratna Narmatha Ravichandhira OAM (Directors of The Academy of Indian Music & Cultural Studies Australia Inc and Bharatha Choodamani Australia), Cr. Lara Carli (Mayor of Melton City Council) and Cr. Steve Abboushi (Melton City Council).
The program included 14 curated dance numbers, mindfully selected to represent a landscape, temple tradition, deity, or cultural memory. Through the repertoire, the audience travelled from Madurai to Vrindavan, and from Tamil Nadu to Andhra Pradesh, encountering different forms of devotion and storytelling.
It was a labour of love for the Founder and Artistic Director of Natyatharu, Christina Prakanthan, a well-known educator, choreographer, researcher, and cultural practitioner with three decades of training and performance experience. Born and raised in Colombo, Christina commenced Bharatanatyam training at the age of two and a half.
Her solo presentation that night – Rusali Radha – was, for many, a highlight. An abhinaya (expression-filled) piece choreographed by her guru, Dr Lakshmi Ramaswamy, depicts a lovers’ quarrel between Radha and Krishna. Christina was completely immersed in the moment, responding to the orchestra and engaging with the audience.
“That kind of feedback is deeply humbling, because it reminds me that dance, at its best, transcends language and speaks directly to human experience,” she reflected later.
Equally impressive was the group number Angayar Kanni Varnam, celebrating the majesty of the warrior queen Madurai Meenakshi Amman. The dancers, through their gestures and expressions, narrated the goddess’s life from her birth to her marriage to Lord Shiva.
Among other highlights, there was an energetic dance piece, Sri Maha Vishnu Kauthuvam, performed to praise and invoke the blessings of the god in Tiruchengodu, Tamil Nadu. The dancers captivatingly portrayed the divine avatars of Lord Vishnu, celebrating him as the preserver and restorer of dharma.
The accompanying artists – vocalists Sivaganga OAM & Karthiga Sahathevan, violinist Narayanan Ramakrishnan, vainika Kasthuri Sahathevan, flautist Jathushan Jeyarasa, mridangist Venkat Ramakrishnan, and nattuvanars Christina Prakanthan & Sharanga Satchidanandam – collectively shaped the emotional landscape of the performance.
After exploring temples, myths, landscapes and human experiences, the audience was invited to turn towards the self through Annamacharya’s kriti Brahmam Okate.
The concluding piece, the Navarasa Thillana, an original composition of Christina’s guru, Dr Lakshmi Ramaswamy, explored the nine emotions and ultimately pointed towards the experience of rasa. “In many ways, that is the purpose of dance itself: to evoke rasanubhava, the aesthetic experience, in the hearts of the audience,” added Christina.
Christina’s relationship with her gurus remains an important aspect of her artistic life. “Before the concert, I called my guru in Chennai. She was amidst a recording, but it was important for me to hear her voice, receive her blessings, and then begin.”
Senior Bharatanatyam gurus present at the event awarded certificates to all performers.
The art and the artists Christina Prakanthan Ādal
The production reaffirmed one of Bharatanatyam’s greatest gifts in the modern world: that some things cannot be rushed. The deepest growth, most meaningful understanding and profound artistic experiences emerge slowly, through dedication, patience and lifelong practice – precisely the values Christina has imparted to her students.
What began with five students in 2012 has grown into a thriving community. “Today, many families recognise that dance offers discipline, resilience, confidence, cultural literacy, artistic sensitivity and a deeper connection to identity and heritage. Students are curious to understand the mythology, literature, music and philosophy behind the compositions.”
Mydhily Madhu, a mother of two and a Community Development Officer, reopened her Bharatanatyam chapter after 20 years, while dropping off her kid at the dance class. “Dance clears my mind, gives me confidence, and brings me joy,” she shared.
Tejeshvi Sivakumar, a Year nine student, said, “Bharatanatyam has helped me learn my family’s culture. I feel proud and more connected to my heritage while growing up in Australia.”
Christina believes that artists remain students for life. “They keep learning, absorbing, practising, questioning, and growing.”
Test of time
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In a multicultural environment like Melbourne, Christina views Bharatanatyam as an evolving practice. “While we stay rooted in its grammar, history, and aesthetics, we also need to engage with it deeply and thoughtfully so that it remains relevant to the community we are part of,” she emphasised.Christina Prakanthan Ādal
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