Divine Dualities Take Centre Stage as Kaveri Abrol Presents Bharatanatyam Margam at India Habitat Centre

Disciple Kaveri Abrol presents Divine Dualities margam under guidance of Acharya Jayalakshmi Eeshwar, SNA Awardee and Bharatanatyam exponent, at Stein Auditorium, India Habitat Centre on February 4, 2025

A traditional Bharatanatyam margam centred on the theme of Divine Dualities unfolded at the Stein Auditorium, India Habitat Centre, as 19 year old Kaveri Abrol presented a solo recital that examined the interplay between devotion and longing, mortal and divine, structure and surrender.
A disciple of SNA awardee Acharya Jayalakshmi Eeshwar, Kaveri approached the classical format with thematic clarity. The evening’s concept, Dvitiv, reflected on spiritual contrasts such as Bhakti and Shringara, Purusha and Prakriti, Shiva and Shakti, tracing their tensions and eventual resolution through movement and expression. The recital balanced technical command with interpretative depth, inviting the audience into an intimate exchange of narrative and emotion.

The performance opened with Ganapati Taalam, a brisk invocatory piece offered as a prayer to Ganesha. Through measured footwork and controlled rhythm, Kaveri established the devotional tenor of the evening. The choreography framed the invocation as embodied prayer, situating the deity as both remover of obstacles and presiding presence over the stage.
The recital then moved into the Vanajaksha Varnam, composed by TRS in Ragam Behag and set to Aadi Thalam. As the central piece of the margam, it formed the emotional and intellectual anchor of the evening. Through layered abhinaya, Kaveri interpreted the devotee’s engagement with Lord Krishna, presenting contrasting emotional states embodied in figures such as Draupadi, Satyabhama, and Rukmini. The varnam interwove expressive passages with vibrant jatis, revealing longing, pride, surrender, and stillness. Her facial expression and eye movement carried the emotional transitions with restraint, allowing the spiritual yearning within the composition to emerge gradually.

A notable segment of the evening was the padam Varatam Swami in Raga Saveri, set to Aadi Thalam and dedicated to Lord Murugan. Here, the narrative took the form of a khandita nayika addressing the deity in a tone that oscillated between reproach and devotion. The refrain “Let him come if he comes I will show him” framed the emotional arc. Through this portrayal, the dancer explored the paradox of intimacy between devotee and deity, where rebuke and reverence coexist. The abhinaya captured both emotional vulnerability and assertion, reflecting the deeper Bhakti Shringara dialogue at the core of the recital.
In Pasa Khelat, based on a traditional Braj bhajan and choreographed by Acharya Jayalakshmi Eeshwar, the mood shifted to a lighter yet symbolically layered register. Set to a medley of ragas, the piece depicted Krishna and Radha engaged in a game of chausar. What began as playful exchange evolved into allegory, as symbolic stakes such as Radha’s nose ring and Krishna’s pitambar entered the narrative. When Krishna’s murli was placed at risk, the game assumed metaphysical resonance, suggesting divine play as an arena in which loss and gain dissolve into Leela. Kaveri’s movement vocabulary softened here, marked by lyrical transitions and understated gesture.

The recital concluded with a Thillana that brought rhythmic vitality to the fore. The brisk footwork and expansive hand movements contrasted with the contemplative tone of earlier segments. The concluding sequence carried a sense of release, as if the dualities explored throughout the evening had found resolution in rhythm and movement. The progression from invocation to exuberance reflected the arc of the margam itself.
Across the performance, Kaveri Abrol demonstrated both adherence to classical grammar and a willingness to dwell within emotional nuance. Her engagement with the thematic structure of Divine Dualities shaped the recital into more than a sequence of items. It emerged as a cohesive exploration of spiritual contrast and convergence within the Bharatanatyam tradition.

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