Choreography

SHIVA SUTRA JAALA (2018)

A musical production based on the 14 sound patterns which Sage Paanini heard coming from the drums held by Lord Shiva.

ANANGA VILAASA (2018)

A composition on Kamadeva or the god of love who remains an enigmatic emblem of sensuous awakening

SAKHA (2017)

A Man in relation to a friend, companion.

MAHA MAYA (2014)

The Supreme goddess , a thought to the power inherent in the growth of world. The cosmic energy closely associated with iconographic & symbolizations associated with Devi & the growth of her as a part of our member family.

LOKA BHANDAVYA (2012)

A presentation in adopting a positive approach & highlighting the underlying principles to nurture the relationships.

VASUDEVA KEERTHANA MANJARI (2010)

A Compositions of Vageyyakara Mysore Vasudevachar. Rare kritis, varna & thillana were Choregraphed & presented .

CHAITANYA THEERTHA YATRA (2009)

A project commissioned by Iskcon. This dance production gives an insight to Lord Chaitanya Mahaprabhu’s expositions’s on the philosophy.

PREMA SWAROOPA (2007)

This production gives us an insight into the life, missions & teachings of Sri Saipadananda Radhakrishna Swamiji, a follower and a great believer of Shirdi Sai Baba, who propagated Sai Spiritual centers all over India.

PANDHARPUR (2007)

A solo thematic dance production describing the various facets of the holy city Pandharpur, home to the shrine of Lord Panduranga Vittala.

KRISHNAM VANDE JAGADGURUM (2006)

Important episodes from the life of Lord Krishna right from his birth to Geetopadesha, in classical, folk and drama aspects. About 320 schools children danced in this mega event.

SHRINGARA LAHARI (2005)

The immortal journey of love between Krishna and Radha, wherein their love, anger, separation and reunion are portrayed. This has been performed along with his co-dancer Soundarya Srivatsa.

FABRIC OF LIFE (2005)

A combination of classical, folk, and contemporary, this dance drama portrayed different aspects of “Fabric” in its most entertaining form.

MANONMANEEYAM (2003)

A Tamil epic written by the poet Sundaram Pillai in 1892, this work is based on interesting interpretations of love, penance, sacrifice, and ethics. Indira and Praveen Kumar choreographed this production for the first time ever in the dance drama format.

VIJAYA PURUSHA (1997) ​

A solo thematic production portraying Arjuna’s romantic interludes.


Testimonials

Four Genres in a day

His well chosen pieces kept my interest from one moment to the next. Starting with a Shivanjali, Praveen left his audience under the glare of Shiva’s third eye as he stood balancing on one foot.    MORE...

~ by sydhwaney • 22/04/2018 •

Showcase of Indian classical dance in Sydney

Praveen's crisp movements established a clear indication of what lay ahead. The main item was loosely styled in the form of a varnam in raga Hindolam and described the sakha relationship between Arjuna and Krishna.    MORE...

~ - Mohan Ayyar ~ Narthaki.com ~ April 19, 2018

The Music Academy dance Festival 2018

Praveen Kumar goes from strength to strength. His excellent light footed nritta & dance lines apart , he has now acquired a feel for interpretative dance too. The beautifully executed sarukkais & some original movements in corporated with ease in his adavus were features to reckon with.   

~ Leela Venkatraman, Sruti magazine, March 2018

From the Hero’s lens……..

His Performance was held together by captivating imagery.    MORE...

~ Sammitha sreevathsa (The Hindu, September 15, 2017)

MALE DANCERS IMPRESS…….

The other fine Male dancer to make a mark in the festival was P.Praveen Kumar from Bengaluru whose rendition of a jathiswara made an arresting start. Praveen responded immaculately profiled nritta & subtly expressive abhinaya. All the items were chosen with a male perspective……   

~ Leela Venkatraman, ( Sruti magazine, March 2017 )

Excelling in both Nritya & abhinaya….

Bharatanatyam performer P Praveen Kumar, who has honed his skills from the veteran gurus Narmada and CV Chandrasekhar, created an instant rapport with the audience with the varnam, Vadane Navaneeta Gandha in ragam hindolam and talam adi. Delineation of his komala tandava nritya was endearing and beautifully emoted by the dancer. He did receive a standing ovation    MORE...

~ Tapati Chowdhurie 2017 ( The Statesman)

Praveen was a breath of fresh air

Performing in the sub-senior slot in the morning, Praveen was a breath of fresh air in the morning show. Opening with a Jatiswaram composed by Kameshwaran in ragam Abhogi and adi talam, Praveen was a bundle of energy. Taking excerpts from Bilvamangala’s Srikrishna Karnamritam, , it was a delight to watch Praveen performing With great subtlety and masterful grasp of technique, Praveen is easily Bangalore’s finest Bharatanatyam dancers. He and his blue brigade of musicians from Bangalore were the first to get a standing ovation at the festival. Veejai Sai, 2017    MORE...

~ Veejai Sai

The right step

Praveen Kumar, who received the Senior Dancer Award at the Natyarangam festival, on his creative forays.    MORE...

~ Hema Iyer Ramani The Hindu, SEP 2016

ELOQUENT EXPRESSIONS.....

Choreographed beautifully, the piece was replete with exacting jathis and interpretative interludes that were entirely appropriate to the warrior like and heroic nature of the central character. The item bore testimony to rhythmic precision, considerable emotive skills, and high levels of energy that coalesced with admirable control over the idiom.    MORE...

~ MADHAVI RAMKUMAR, The Hindu... 2015

The next morning saw an excellent performance of the first male soloist for the festival. In his main piece, Praveen took up the challenge of choreographing the famous daru varnam ‘Mathe malaya dhwaja’ .Praveen explored various stories of the Devi in his sancharis. Praveen’s clever choreography made it exciting to watch. Even the fast paced jathis were gracefully managed.    MORE...

~ Veejay Sai, Narthaki.com 2015

From the MALE perspective……

Apart from clean lines & sound footwork, it is the subtlety of expression that stood out in his recital. Especially in Javali, Praveen charmingly navigated the intricate emotions…….He succeeded in striking a balance between externalizing the nayaka’s thoughts & portraying his reactions.    MORE...

~ Archana Nathna., The Hindu 2014

Redefining agility….

A supple Praveen Kumar showed deftness with excellent adavus, geometry & timing. Praveen’s nritta carries an ‘excellent tag- excellent adavus, excellent geometry, excellent agility & excellent timing. He redefines agility.    MORE...

~ Rupa Srikanth, The Hindu (2013)

Praveen Kumar of Bangalore, one of the best male dancers in Bharatanatyam currently, dances with the most unbelievably perfect nritta. The opening “Mahadeva Shiva Shambho” with Natesa Kavutvan passages strung into the choreography, had a stunning impact. The jatis in the Krishnaanjali in Reetigowla had a razor sharp clarity of line and rhythm, .........    MORE...

~ Leela Venkatraman, The Hindu, Delhi (May 13th 2011)

Tailored to perfection……………

Praveen Kumar's Bharatanatyam, in the style of his guru, was one of the high points of the festival. One of the high points of the Music Academy Dance Festival was the recital by young Praveen Kumar of Bangalore. The uncluttered simplicity and immaculate Bharatanatyam was in the style of his Guru Prof. C.V.Chandrasekhar. Praveen's masterly rendition made it one of the finest presentations of the festival.    MORE...

~ Leela Venkatraman – The Hindu, Chennai (February 4th 2011)

Forays into the Unusual……………

Clean lines, clear foot work & impeccable finishes. He captured the context with sensitivity especially in the charanam sahithya when described the physical beauty of the nayika..Praveen’s nritta shone with accuracy. The sparkling theermanas set with nadai bedams In some cases with doubling speeds as in the opening trikala jathi were intoned with authority.   

~ Rupa Srikanth - The Hindu. December 19, 2008

Praveen’s sleek lines and agile footwork combined with a serenity of countenance and gave a pleasing look to his recital. the dancer managed to show the anguish of the sensitive man without losing clarity of mudras.   

~ Anjana Rajan, The Hindu ( Delhi ), July 18, 2008

‘Devotion in delightful contours’

“Vibes of Pandharpur, after R. Krishnaswami’s introduction, were well caught in Praveen Kumar’s recital. In a narrative inclusive of dialogue, with the dancer effecting quick changes of head-gear and other little details, donning one role after another, Praveen never lost control over measured aesthetics of both nritta and interpretative dance. ..The dancer’s nritta with its immaculate sarukkai adavus was a delight.”    MORE...

~ Leela Venkataraman -The Hindu, Aug 10, 2007

Praveen NY

“Noteworthy abhinaya and graceful dancing by the young and talented Praveen kept the audience spellbound throughout the show.”   

~ India Monitor (New York)

‘Combines skill and grace’

“This young dancer has considerable skill coupled with grace and beauty in movements as well as a confident approach in the execution of technique. Neat lines, firm footwork, graceful hasta delineations and a pleasant portrayal of the different narrations by the dancer, created a calm, leisurely atmosphere that is becoming a rare feature in the present dance scene.”    MORE...

~ Nandini Ramani -The Hindu, Feb 21, 2003

Textbook Bharatanatyam at its best……..

Praveen's selection of items for the NCPA event showed his imagination and ingenuity. His perfect adavus and mudras were straight from the textbook. Endowed with a winsome personality he is a dancer to the manner born.   

~ A.Seshan (www.narthaki.com)