Aswani Natya Graha
Aswani Natya Graha

Dr. Keerthi Panicker

Classical Dancer | Musician

Absolute Abhinaya

Keerthi Panicker’s Bharatanatyam recital was reflective of her tutelage under the Dhananjayan’s…… absolute abhinaya pieces demand a lot of facial expressions and Keerthi has skillfully transported the theme to the highest level…. Her movements and striking turnings had a scintillating flow and the whole story was conveyed with élan. Her control over abhinaya in the padams was absolute………

The Hindu (Friday, May-07, 2010)

Keerthi’s entry into the world of Bharatanatyam was at the age of four. She was born in a dance and music loving family, her parents being Mr.P.K.P.Panicker and Mrs.Usha Panicker who discovered her talent in early age of four and then gradually stepped in to the world of Carnatic sangeetham and experimented as a Vainika.

She has been lucky to learn Bharatanatya in its purest form from the renowned gurus. Initially she was under the tutelage of Guru Sri.Sivanandhan Nair (Lect. Swathi Tirunal college of music) and later under Sri. S.B.Pillai (a renowned guru from Delhi and director of ‘Nrithanjali’). She has done Arangetram in 1987 at ‘Nrithanjali’ Punalur Kerala.

As part of her long journey, she had advanced courses from Bhaskara,( Gurukula for arts, Payyanur) and Bharatha Kalanjali (an internationally reputed dance academy of ‘the Dhananjayans’). She has participated in the major productions of Bharatha kalanjali and other prominent Bharatanatyam artiste’s productions. They all insisted Keerthi to confine to Bharatanatyam alone to attain ‘perfection’. They never wanted her to be spoiled in the labyrinth of different techniques and features of various art forms.

Natya Form

Learning an art form like Bharatanatya and reaching in its zenith is a long and strenuous task and to a great extent an impossible mission. But to be the part of this divine art itself is sublime. Bharatanatyam, the embodiment of the culture of Bharatham (India) has complete freedom to expose the tadava and lasya type of dances of our auspicious God Nataraja.

The aim of Natya was to arouse a certain rasa in order to uplift the public to unify it and to instruct in the right way of living. The aim of other glorious periods of classic natya was mainly spiritual. If the spectator left the auditorium without having understood the meaning of his own suffering, without “deliverance,” without having been uplifted by the rasa, the play would have missed the mark, however pleased the public might have been by the music, the song and dance which formed, everywhere.

Awards and Scholarships

PhD in Music in dance drama from Madras University

SCHOLARSHIP PLACE YEAR ITEM
Centre for Cultural Resources and Training New Delhi 1992-98 Bharatanatyam
Kerala Sangeeta Nataka Academy Trivandrum 1989 Bharatanatyam

Awards

  • Best Student Award (Junior) Nrithanjali (Regd.) -Year 1987.
  • Overall Good Performer Award Nrithanjali (Regd.)-Year 1998.
  • Certificate of Proficiency B.A. (Music) SN Women’s College, Kollam, -Year 1998-99
  • Best Student Award (Junior) Nrithanjali (Regd.) -Year 1987.
  • Diploma in Indian Art (Nalanda research Centre, Mumbai)
  • Doordarshan Grade artist in Bharathanatyam
  • Other Certificates of Merits

 

Keerthi Panicker