Mahati Kannan takes the Bharathanrithyam legacy forward

Mahathi Kannan's performance integrates karana vocabulary with structured adavu patterns.

Mahati Kannan’s Bharathanrityam performance for Krishna Gana Sabha’s Pongal Dance Festival was grounded in tradition. She was supported by Gayathri Kannan on the vocals with Anantha Shree providing vocal support and nattuvangam, Shreelakshmi Bhat on the violin, and Nagai P. Sriram on the mridangam.

The recital opened with a Pushpanjali, following which Mahati took up the Tiruppavai of the day, ‘Koodarai vellum’. This choice mirrored the customary practice in Carnatic concerts where the Tiruppavai of the day is rendered. Its translation into movement brought a time-tested framework into the dance space.

One of Mahati’s strengths is the variety of compositions she chooses. This was evident in ‘Ma mayil meedhu eri vaa’, a composition by Meenakshi Subrahmanyam on Muruga. The piece permitted ample scope for sancharis, particularly episodes depicting Muruga as Swaminatha, the divine guru who revealed the meaning of the Pranava to Shiva himself. These narratives were handled with clarity, making room for the philosophical idea to emerge without excessive elaboration.

Mahati Kannan. | Photo Credit: B. Velankanni Raj

The central piece of the evening was the varnam ‘Vanamala shri gopala’ by Kunrakudi Krishna Iyer, set in Valaji. The varnam’s restrained musical and lyrical structure provided fertile ground for dance, allowing movement to remain at the forefront. For each line, Mahati drew upon episodes from the Bhagavatam, sometimes juxtaposing them creatively — as when she questioned Krishna on the contrast between his stealing the gopis’ garments and his protection of Draupadi’s honour. Such moments added an element of introspection to the presentation.

In the post-charanam section, the tempo increased, and Mahati demonstrated a notable interplay of karanas and adavu-based nritta. Karanas were not treated as isolated inserts but were woven into rhythmic passages, particularly in the endings of ettugada swaras, each concluding with a distinct spatial resolution. This thoughtful variation enhanced visual interest and highlighted a Bharathanrityam approach that integrates karana vocabulary with structured adavu patterns.