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.
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.
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.
The right step
Praveen Kumar, who received the Senior Dancer Award at the Natyarangam festival, on his creative forays.
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.
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.
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.
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.
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, .........
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.
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.
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.
‘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.”
“Noteworthy abhinaya and graceful dancing by the young and talented Praveen kept the audience spellbound throughout the show.”
‘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.”
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.