A Remarkable Bharatanatyam Arangetram Celebrates Resilience and Passion

Vyshnavie Natya Centre presented a remarkable Bharatanatyam Arangetram at Ravindra Bharathi on the weekend. The artiste of the evening, Dr Lalita Anand, had learned Bharatanatyam in her childhood from Guru Dr. Uma Rama Rao. However, life took her on a different path, and immersed in academic life and career with family responsibilities, she could not continue her passion for the art form. Over time, health challenges forced her to step away.

Her resilience and commitment were demonstrated when she came back to Bharatanatyam, seamlessly transitioning from her earlier style to the Pandanallur style, training under the guidance of Gurus Vyshnavie and Rajeswari Sainath. Dr Lalita is married to C V Anand, IPS, the present Commissioner of Police, Hyderabad. Lalita Anand also has a deep interest in music and is currently learning ghazals from Devi Ramana Murthy.

This Arangetram marked a milestone in her life, serving as a powerful inspiration and useful reminder to women that age is just a number and that a passionate love for dance can be pursued at any stage of life.

Her guru, Vyshnavie Sainath, needs no introduction in dance circles. One of the most respected young artistes, she has not only made a mark for herself in Hyderabad, playing a key role in various spectacular thematic productions, but is also the only young artiste from Hyderabad to be featured regularly in the prestigious season concerts of Chennai sabhas. Apart from Bharatanatyam, her versatility has been demonstrated through her mastery of contemporary dance, Simhanandini, Odissi, and Kalaripayattu.

Her academy has presented a series of excellent Arangetrams of her students, who have been rigorously trained under her expert guidance. The students, one and all, adore their young Guru, who is cordial and caring but also rigorous, sparing no detail in her teaching. Vyshnavie herself has been shaped into a surpassing dancer in Bharatanatyam by her mother and renowned senior Guru Dr Rajeswari Sainath.

The orchestra was headed by Sriram Jonnalagadda, whose voice had a lucid timbre that enhanced the aesthetics of the program. The instrumental team, consisting of Chandrakanth on Mridangam, Chander Rao on Violin, Venkatesh on Flute, and Srikanth on Tabla, together made up a very senior team, providing the highest quality of aural accompaniment.

The performance began with the traditional Alarippu in Tisram, offering floral tributes to Lord Nataraja. This was followed by Jathiswaram in Saveri. The artiste’s impeccable attire marked her stage-worthy presence. Her movements were lucid and clear, demonstrating the absorption of the demanding skills necessary for this great art form. There was absolutely no sense of strain or excessive effort as the performance progressed. The joy of presenting her beloved art gave a radiant glow to her expressions.

Natya, Nritta, and Abhinaya were all well balanced, evoking a serene maturity astonishing for the short few years of her re-entry into dance. The central Varnam in Ragamalika was specially written by Malleshwari in praise of Lord Shiva. It depicted Lord Shiva, who is rapt in the Omkara, the presenter of boons to devotees, and a source of endless grace. The attributes of Shiva—the Damru held in his hands, Ganga on his head, the Crescent Moon, Tiger Skin, and Snake Ornaments—were pictured.

The legend of the descent of Ganga to Earth, as a result of the wish granted by Brahma to Bhagiratha, followed. The Goddess flows down from Heaven in an excessively arrogant manner, inspiring fear that the Earth would be completely drowned. Shiva intervenes, locking her in his matted locks and letting out a gentle flow, thus calming her. Angika Abhinaya portrayed the tremendous waves splashing, roaring, and threatening very aptly. Episodes of Shiva’s anger burning Manmatha into Ashes and Ardhanareeswara followed, delivering the message that man and woman together assure completeness.

A Ghazal, also termed Nazm, “Aaj Jane Ki Zid Na Karo,” in melodious Yaman Kalyan, sung by Devi Ramana Murthy, was a graceful poesy of poignant poetry elegantly depicting how the lover is beseeched not to insist on leaving his beloved, who will languish in sorrow and perish from such a hurtful parting.

The performance concluded with a Thillana in Brindavani, followed by a lilting Mangalam, “Ksheerabdi Kanyaku,” performed by the dancer, who wore a characteristic headdress surrounded by a carved, golden-hued scalloped arch (Prabhavali), bringing the evening’s performance to a close amidst applause. The Hon’ble Minister, Govt of Telangana Dudilla Sridhar Babu graced the occasion as Chief Guest.