Two friends share an afternoon to present their Solo Work

PROGRAM ONE

Muruga

Muruga is a work first conceptualized by Mavin Khoo and O.S. Arun, and originally choreographed and performed by Mavin Khoo in 2012. Yet it continues to resonate with a timeless urgency. Rooted in devotion, memory, and embodied ritual, the piece transcends the moment of its creation, speaking to enduring questions of faith, surrender, and identity.

As a Malaysian-born Indian, this work holds deep personal significance for me. The worship of Muruga, and the powerful, visceral expressions of devotion seen during Thaipusam, are not distant cultural images but lived realities that have shaped my understanding of spirituality and community. The intensity of that devotion—the piercing, the trance, the offering—reflects a relationship with the divine that is both intimate and formidable.

This connection is further deepened through language. The work is performed in Tamil, a language that I relate to profoundly. Tamil is not only a means of communication but a carrier of history, poetry, and sacred expression. Engaging with this piece in Tamil allows me to access its emotional and spiritual textures more fully.

I was present as a student of Mavin Khoo when this work was first taking shape. To have witnessed its evolution from within the studio is a privilege that now comes with a profound sense of responsibility. In revisiting and reinterpreting Muruga today, I am acutely aware of the legacy I inherit. This performance is both an offering and a continuation—a way of honoring the original vision while allowing it to live anew through my own body and experience.

In presenting this work, I stand at the intersection of past and present, tradition and interpretation, devotion and performance. It is with humility and reverence that I carry this legacy forward.

Credits

Concept: O. S. Arun and Mavin Khoo

Original Choreography:Mavin Khoo

Reimagined Choreography & Dance:Sri Thina Subramaniam

Mentor:Mavin Khoo

Music Credits:

O. S. Arun (Vocals)

Puskala Gopal (Cymbals)

Hari am (Violin)

Shri G. Sridhar (flute)

Veda Krishnan (Mridangam)

Sound Engineer: Srinidhi Studios, Bangalore


Lights: Sneha Subramaniam

Creative Inputs: Aparna Shankar, Meghana Murthy, Sneha Subramaniam 

Video Projection: Sneha Subramaniam & Sri Thina Subramaniam

Special Thanks: Theepan Moorthy, Swetha Krishnamoorthy & Virendra Jhadav, Aparna Shankar


PROGRAM TWO

Kismet with Kali

Kismet with Kali explores the dynamics of relationships and memories, tracing the change from expectation to acceptance. This piece weaves movement, poetry, theater, and live music to tell a story of holding on and letting go.

During my research trip to Kalarigram in Pondicherry, various temples in Kerala, and Kali Ghat in Kolkata, I saw many versions of Kali, whom I had read about in texts:  goddess of power, destruction, and fierce motherhood. But none of them matched the version I was searching for. The deeper I delved into her world, the more I realized that the Kali I looked for wasn’t in any text or image. So, I created that version of Kali. It also gave rise to the daughter’s voice, asking this mother questions, seeking comfort, understanding, and a sense of safety that feels out of reach.
Kismet with Kali embraces the idea that life is full of contradictions; even the figures we worship cannot escape that. As we navigate the expectations and responsibilities of being a mother, a daughter, or a guide, we often lose sight of our own identities. This work explores the shift from expectation to acceptance, not just of others, but of ourselves. It asks us to look beyond the roles we play and see the people we are.

Although I didn’t connect deeply with the religious side of Kali during my visits, the energy and spirit of those places had a strong impact on me. That energy is now woven into this work, offering a glimpse of a Kali who is both strong and vulnerable, much like us.
This piece invites you to a space where myth meets memory, where Kali doesn’t offer answers but allows us to ask deeper questions.

Credits

Concept, Choreography, Script & Dance: Shruti Abhishek

Dramaturge: Nadhi Thekkek

Mentor: Vaibhav Arekar

Music Co-direction: Sindhu Natarajan & Karthik Hebbar

Rhythm Composition (Kali Jati): Kaleeswaran Pillai, Vinod Anoor

Music Arrangement: Sindhu Natarajan

Facilitator & Writer: Jason Wyman

Original Music Collaborators: Sindhu Natarajan (Vocals), Asha Mana (Chenda), Aditya Iswara (Percussion), Vikram Raghukumar (Violin), Matt Small (Bass/Composition), Preethi Ramaprasad (Cymbals)

Recorded track: Sindhu Natarajan, Matt Small, Vinod Anoor (Percussion), Srinidhi (Violin), Shubha Santhosh (Veena), Deepika Potdar Panchamukhi (Cymbals)

Sound Engineer: Srinidhi Studios, Bangalore.

Creative Inputs: Deepika Potdar, Nadhi Thekkek, Preethi Ramaprasad & Vaibhav Arekar

Costume Design: Deepika Potdar

Videography: David Gaylord

Work Supported by: CA$H grant by Dancers Group & Alliance for California Traditional Arts

Special Thanks: Abhishek Ashok, Archana Ashok, Parvathy Kiran, Rohini. M. Singhi, Sri Thina Subramaniam & Jason Ditzian.

Special Thanks to

Sneha Subramaniam (Lights), Aparna Shankar and Virendra Jhadav

For upcoming events please visit: https://www.srithina.com/events

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