Twin Sisters Shine in Mesmerizing Arangetram

Guru Aditi Rao Ashtaputre is a bharatanatyam danseuse, teacher, and choreographer who received her training from the renowned Guru Padmashri Dr. Ananda Shankar Jayant. Tejasvi and Yashasvi Chillamcharla debuted from her institute, “Nadee School of Movement.” The joint arangetram of these twin sisters was presented at the Bharatiya Vidya Bhavan auditorium on the first day of the week. The twins have also learned Andhra Natyam.

Tejasvi has completed basic training in piano and is an avid reader, while Yashasvi has pursued elementary level gymnastics and Carnatic music.

There was a lovely backdrop in the form of a lighted screen with traditional motifs projected onto it, designed by Gunjan Ashtaputre, which gave a rich feel to the stage bordered with clusters of flowers in bunches. The orchestra was of very high quality, and the vocalist was Swetha Prasad, whose vocal abilities are of surpassing competence. Her full melodious voice has tonal resonance and volume.

A prayer to Lord Ganapathi opened the performance. As per the customary format, pushpanjali in nattai was followed by an alarippu. The sisters were perfectly coordinated in their movements as they performed in unison. It was like watching a reflection in a mirror, so similar was their appearance, and the nritta choreography highlighted that aspect. The duets were punctuated by solos, the first of which was done by Tejasvi.

“Saraswati Namostute” is in praise of Devi Saraswati. Seated on the banks of a river, her feet resting on a lotus, she holds a book and the musical instrument Veena, and is draped completely in white, the color symbolic of purity, knowledge, and wisdom. All the effulgence of the goddess shone in the item as it was presented by the dancer in a crystalline fashion, rendering a sublime presence. The depth of teaching undergone as well as absorbed was visible.

The central varnam was “Roopamu Joochi” in thodi ragam. The sisters assumed their roles in this epitome of praise to Lord Shiva, describing the young maiden enchanted by the beauty of Lord Thyagaraja of Tiruvarur. The heroine approaches the deity with love and devotion, wonders if he may be displeased, and pleads with him not to be angered by her visit. The abhinaya displayed as the sisters acted the part was spectacular.

Each was a brilliant counterpart to the other. Expressions of imploring him to delay not but offer protection were earnestly done. The power of the dispeller of troubles is acknowledged, and he is reminded of his divine countenance exceeding a million Cupids and splendid valor. He is asked to lay aside indifference to her sincerity. The long varnam hardly made a dent in the twins’ energy levels, and they went on as sprightly as ever.

Yashasvi shone in the piece on Krishna, “Nirupama Sundarakara,” an Ootukkadu composition in panthu varali. Sri Krishna is imagined to be on the banks of the river Yamuna in Vrindavan, blue as dark clouds, adorned with precious gems and sacred garlands. The captivated Gopika yearns for him to dance with her and is enthralled by the divine Raasleela. The Lord’s omnipresence is mesmerizing and all-pervading, friendly to the wise. The dreaming Gopika was captured well by Yashasvi in this solo.

The most unique and daring item in the program must be applauded for its unusual flavor. This was the thillana in desh. The choreography made action in a basketball court part of the repertoire. As both the dancers are basketball players, their love for the sport inspired the inclusion of this sport into the dance. The whole thillana was structured like a game. With agility, the artistes chased after an imaginary ball, twisting and turning to catch it and toss it into the basket, thus outwitting the other. It was a joy to watch the abhinaya displaying the success of the one who won to the chagrin of the other who lost. In the final movements, both were all smiles at finishing this enjoyable game.

One of the sisters carried the other on her back as they exited to tremendous applause. The imaginative blending of athletic vigor into the grammar while being faithful to the style of the art form has to be appreciated for its flowing verve.

The finale of the arangetram was a very special piece. The Bhairavi Shatakam in lavangi is a powerful chant from the Soundarya Lahari of Adi Sankaracharya.

The majestic hymn was grandeur itself in the way it was brought out in complementing nritta and abhinaya, evoking the blessings of Devi. Bhairavi, a form of the divine feminine, was invoked, and the song was from the album “Ya Devi” composed by the Sounds of Isha. It was highly appropriate that Dr. Ananda Shankar Jayant was the chief guest and hence present to watch her own student Aditi’s success in showcasing in turn her students’ arangetram, thus continuing the link of this great cultural inheritance to future generations.