Swaroopa Unni’s school of classical Indian dance, Natyaloka, is growing, both in numbers, and from strength to strength. Her most
recent production, Sangam: Confluence, is another example of beautifully taught and engaged students, ranging in age from tiny to
adult. The auditorium is filed with the happy hum of whānau looking forward to watching.

Confluence refers to the blending of cultures through a performance by Dunedin’s O Taiko drumming group and Natyaloka’s Bharatanatyam
dancers. The heavy drumming offset the delicate but exuberant dancers and all the performers on the stage looked as though they were
thoroughly enjoying the shared experience. This was a really lovely addition to Natyaloka’s end of year production and I look forward to
seeing where Unni’s imagination and creativity takes her next year.

Throughout the show, I reflected on the expressions of the performers. While many were dictated by the narrative of the choreography, there
were glimpses of the dancers’ personalities and perhaps motivations for performing. Some appeared lost in the reverie of music and
movement, some looking for well-wishers in the audience, some simply concentrating on getting it right, seeking perhaps the pleasure of
perfection and others actively drawing the audiences into the work. I think it is a measure of a good teacher that enables her students to
find and articulate their own purpose through her choreography and teaching practice.

I admire Unni’s effortless blending of the pure traditional with her remarkable sense of flair and exploration of the potential of that
tradition.

Copyright © in the review belongs to the reviewer

Swaroopa Unni’s school of classical Indian dance, Natyaloka, is growing, both in numbers, and from strength to strength. Her most
recent production, Sangam: Confluence, is another example of beautifully taught and engaged students, ranging in age from tiny to
adult. The auditorium is filed with the happy hum of whānau looking forward to watching.

Confluence refers to the blending of cultures through a performance by Dunedin’s O Taiko drumming group and Natyaloka’s Bharantanatyam
dancers. The heavy drumming offset the delicate but exuberant dancers and all the performers on the stage looked as though they were
thoroughly enjoying the shared experience. This was a really lovely addition to Natyaloka’s end of year production and I look forward to
seeing where Unni’s imagination and creativity takes her next year.

Throughout the show, I reflected on the expressions of the performers. While many were dictated by the narrative of the choreography, there
were glimpses of the dancers’ personalities and perhaps motivations for performing. Some appeared lost in the reverie of music and
movement, some looking for well-wishers in the audience, some simply concentrating on getting it right, seeking perhaps the pleasure of
perfection and others actively drawing the audiences into the work. I think it is a measure of a good teacher that enables her students to
find and articulate their own purpose through her choreography and teaching practice.

I admire Unni’s effortless blending of the pure traditional with her remarkable sense of flair and exploration of the potential of that
tradition.

Copyright © in the review belongs to the reviewer