Press & Accolades
A collection of reviews and features from my journey as a Bharatanatyam performer and academician. I am truly humbled by these reflections on my practice.
A screenshot of the headline from The Hindu, reviewing my performance at The Music Academy. I am humbled by the critic's kind words about my sensitivity to emotion and confident energy on stage.
An excerpt from the review in The Hindu, detailing my 'netra abhinaya' or eye expressions. The critic highlights how my involvement in the performance turned a clinical varnam into a sensitive story.
This part of the review notes my scholarship, evident in the neatness of my adavus and the 'azhutham' or groundedness in my dance. This balance of lightness and groundedness is something I focus on deeply.
Another detail from the review, describing my portrayal of Tyagaraja. Capturing the subtle movements and emotions of a story is what makes abhinaya so powerful.
The review mentions my background as a PhD scholar studying the Natyashastra and Indian aesthetics. My academic research constantly informs and enriches my practical approach to dance.
I was happy to be featured in the 'Taalam' column on Narthaki, a respected portal for Indian dance. It was a special honor to be featured in the same festival and article as my Guru, Sri P. Praveen Kumar.
An artist introduction for my performance at the Jharna 2023 festival. It beautifully summarizes my journey in dance, from my beginnings at age five to my current work as a soloist and teacher.
About Press & Accolades
These reviews are less about me and more about the bhakti I bring to the stage. Whether it is a critic noting the azhutham, or groundedness, in my adavus, or my portrayal of stories from the Ramayana, I see these pieces as a reflection of my lifelong study of the Natyashastra and the guidance of my guru, Sri P. Praveen Kumar.
Writing about my own performances is difficult, but seeing my work documented by critics like Rupa Srikanth in The Hindu is special. It validates that the hours spent researching Indian aesthetics and Karanas—the sculptural transitions defined in the Natyashastra—actually translate to the audience. When a critic notes the 'netra abhinaya' or my eye expressions in a piece like 'Roopamujuchi', it confirms that the emotions I intend to convey are reaching the rasikas.
Beyond the stage, being featured on portals like Narthaki alongside my guru feels like a full-circle moment. My practice is not just about the final performance; it is a blend of rigorous theory and spontaneous joy. Whether I am deep in a PhD research project on theatrical design or choreographing a piece for a student showcase, my goal is to keep the art form alive and authentic. If you are interested in exploring this approach through private mentorship or specific choreography, I am happy to discuss your requirements.
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