Rangbhoomi, Gachibowli has become the venue of choice for talented young classical dance artistes who are interested in presenting new concepts in a compact yet aesthetic setting.

In ‘Trayi Varnam’ last Sunday evening, Chetaniya Sravanthi, Sahitya Ramkumar, and Anju Aravind each presented a Bharatanatyam ‘varnam’ lasting around thirty minutes, with the respective choreographies being their own original creations. The choice of varnams aligned perfectly, as the glory that is Shiva was experienced through poetry, music, and movement. The divine Lord was addressed in his various manifest forms at ‘Chidambaram,’ ‘Thanjavur,’ and ‘Thiruvarur.’

The spectators journeyed with three lovelorn ‘nayikas’ who were deeply smitten by him, thus experiencing the full spectrum of love–shringara rasa. One nayika craves the beloved’s appearance, another wishes for a happy union with him, and the third suffers the pangs of separation.

Chetaniya Sravanthi was attired in a costume of cream tinge with a dark border. ‘Swami Nan Undan Adimai’ is set to ‘Nattakurinji ragam’. The composition was centered on Shiva as the cosmic dancer of Chidambaram. ‘Nataraja’ dances in a blazing circle of flaming fire, his matted locks swaying, feet placed on ‘Apasmara’, a snake dangling from his limbs, attire stretching out, and the drum keeping tune in his hands. The crescent moon adorns him, and ‘Ganga’ is present on his blessed head. His anklets ring as the universe pulses in rhyme to his steps. He is silence, creation, and dissolution awesomely combined.

In complete submission, the nayika, as his servant, requests but one ‘darshan’ of him to content her forever. Chetaniya, in her ‘abhinaya,’ etched with finesse the yearning, waiting, searching, and pleading expressions with utmost fidelity. The ache of separation was transparently conveyed in every movement. A single glance for a soul burning with love, longing, and surrender was emoted. This journey of the nayika, punctuated by the vigorous ‘jathis,’ was much appreciated. “Oh, the Lord who came to save a tiny bee — why does he not turn to me?” was one of the lyrically beautiful descriptive phrases in which the nayika pours out her heart in this piece.

Sahitya Ramkumar presented ‘Manavi Cheykonarada’ by the ‘Tanjavur Quartet’ in ‘Sankarabharanam ragam.’ She was a vision, floating ethereally in her dazzling costume of turquoise blue, exquisite in its shade and design. Thanjavur is a popular temple town in Tamil Nadu, home to the magnificent ‘Brihadeeswara Temple’ with its colossal ‘Nandi’ and friezes of the 108 ‘karana’ carvings. Appropriately enough, the recital was embroidered with lissome karana poses revived by Dr. Padma Subramaniam from her research.

The town is also known for its ‘thalaiyatti’ or ‘butta bommai’—head-bobbing papier-mâché dolls. Sahitya intriguingly employed the conceit of the ‘varnam’ being the love story of one such doll come alive to tell her tale to ‘Brihadeeswara’ himself. She began with characteristically bobbing head movements, exceedingly true to what the actual doll makes when gently moved! Liquid ‘karanas’ created an almost limb-dissolving effect, quite stunning in grace.

Sahitya’s eyes spoke volumes as the nayika-doll sends messages through ‘Nandi,’ the bull who sits at every Shaivite temple opposite the sanctum. She deftly wove a spectacle of her imagining a grand wedding night with the Lord. She beckoned and then, in shyness, turned her head—all in abhinaya of surpassing elegance, testifying to her internalisation and mastery of the classical grammar of her art form.

The one true Lord with no equal but himself is reached by passing through the myriad sculptures of the temple corridors to the utmost bliss of the sanctum sanctorum. Thus, the appeal offering love and desire was fulfilled, eloquently and stirringly conveyed in ‘sanchari bhavas’ of refined finish, polished to perfection. The ‘nritta’ aspect was also imaginatively striking, as the gestures were completely dissimilar in every sequence—ranging from extensively athletic to daintily infinitesimal.

‘Bhairavi ragam,’ holding emotional gravity, intoned the timeless ‘Mohamana Varnam’ of Ponniah Pillai. Anju Aravind lit a fire on the stage as she brought to life the nayika emotionally enveloped in Lord ‘Thyagesha of Tiruvarur’. Despite time and experience revealing the improbability of his return, her heart remains bound to a past of memories embellished with cherished moments of intimacy, tenderness, and divine connection. Caught in the throes of longing, she is the helpless target of ‘Manmada,’ the God of Love, as his relentless arrows ignite her infatuated desire. In a violet and green dress, Anju was a meteor crossing the stage with sparks as her complex jathis unfolded with immense energy. ‘Nritta’ was taken to a whole new level, and abhinaya was in synchrony. The audience gave a well-deserved standing ovation as the high-powered program concluded with the three dancers coming together to offer a short ‘shloka’ on Shiva, in impeccable symmetry.