Bharatanatyam Dancer Divya Hoskere shows a rare sensitivity to emotions in songs

Divya Hoskere, who performed at the 2025 Dance Festival of Sangeet Academy. Photo Credit: K. Pitchhumani

Divya Hoskere is a young Bharatanatyam dancer and educationist. P. A disciple of Praveen Kumar, he is a PhD scholar at the School of Humanities at NIAS. The broad field of his research includes the study of Natya Shastra, Indian aesthetics and dramatic design.

His scholarship is clearly clear and clear in his right time. He is light on his feet, on the contrary one Azhutham -Gymnasm that defines the Bharatanatyam of modern times. In fact, in ‘Rupamujuchi’ Padavaram (Todi, etc., Ramaswamy Dixit) some battle covered the huge stage of the Sangeet Academy (he performed at the 2025 dance festival), he also managed with a grounded touch. He is always under control, confidence and energetic.

Praveen’s visualization was interesting in one in one, there were good ‘the Thaas’ Atarmis Between another, in the third, curves and in the fourth turns in the advas and final – small, sparkling touch. His idea of ​​a stagnation to emphasize the spirit – the astonishing in ‘Roopamujuchi’, ‘Kopamu’ had to face trouble in the second part of Pallavi towards the confusion in his angry confusion and again in sadness and ‘Tapa Trya’, But was effective, but effective, but effective, but three times, it lost some sheen.

Describing Taggaraja as the unholy owner of the cycle of birth and death, which is observed in a grand procession, was done with sensitivity. The idol was well caught well according to the shock of bearrs.

Divya Hoskere P. Praveen Kumar’s disciple is photo credit: K. Pitchhumani

Divya’s leader Abhinaya was also notable; The fear in ‘Ropamujuchi’, when she sees the Lord, wide eyes in Charanam, ‘Markoti Sundara …’ when she finds out that she is better than the mind. As Parisam Varna attracted to a close friend, Divya kept the mood repeatedly to catch another glimpse of Tyjeja’s beauty. Such a participation makes a clinical vanam in a small sensitive story.

Among the pieces of Abhinaya, Merbai’s ‘Main Hari Charan Ki Maid’ was hot, in which musicians and dancers enjoyed every moment. ‘Aligite’ (Hussaini, Mishra Chapu, Kshetrayya) felt a little repetition after Vannam. Divya Valachi ended with ineffective energy in Thailana (Adi, Dwarki Krishnaswamy).

The support system of the dancer was impeccable: Praveen Kumar (Nattuvangam), DS Srivats (Vocal), Mahesh Swamy (Flute), Vidyashankar N. (Sridangam) and Mandya Nagraj (Violin).