"Dancing Colors of Tradition: Ananya Magesh's Bharatanatyam Arangetram Paints a Timeless Tapestry"

by Amrutha Ananth

Reflecting on the past, I can clearly remember the well-spoken remarks of the esteemed dancer Guru Sudharani Raghupathy when she graced an event as the guest of honor during one of Guru Smt. Anitha Guha's magnificent Bharatanatyam productions. With profound imagination, Guru Sudharani Raghupathy drew a parallel between the performance and a Tanjore painting, illustrating how skillfully Guru Smt. Anitha Guha brought the painting to life through the captivating art of dance. Undoubtedly, the suave details, vibrant colors, and rich cultural tapestry woven by Guru Smt. Anitha Guha's choreography left an indelible impression on me. Last week, as I observed Acharya Aishwarya Balasubramanian, a protégé of Guru Smt. Anitha Guha, direct her debut Arangetram for her student Ananya Magesh, I found myself inevitably connecting this experience to the vivid portrayal shared by Guru Sudharani in her description. Ananya’s performance seemed like a continuation of that artistic legacy, a masterpiece in motion that embodied the essence of a Tanjore painting. Her graceful movements and impressive gestures brought the story to life on the stage, much like the intricate brushstrokes of a Tanjore artwork. The artistic-minded lineage flowed seamlessly from Anitha Guha to Aishwarya Balasubramanian and now to Ananya Magesh, each dancer adding their unique hues to the canvas of Bharatanatyam. It was a testament to the enduring power of art to connect us across time and generations.

Acharya Aishwarya Balasubramanian’s (Arpanam Academy of Bharatanatyam) deft approach effortlessly weaves together sophisticated elegance, meticulously honed expressiveness, advanced rhythmic prowess, and, naturally, a strong focus on aesthetics. This fusion is encompassed within what Kalaimamani Smt. Anitha Guha eloquently referred to as "Padhathi Praharam," as highlighted in her welcoming remarks.

The emerging artist, Ananya Magesh, commenced her performance with a traditional “Pushpanjali” in ragam Nattai. Her supple body effortlessly executed movements and high jumps with graceful ease, meticulously tracing each curve and bend with precision. Her chin and eyes accentuated every beat with sharp, defined movements, while her hands remained steadfast in their gestures. The agility of her movements and the distinct enunciation of 'dhit, thith, thais' transformed this number into a visual spectacle.

The subsequent piece was the Tamil Krithi “Kolahala Narthana Ganapathy” in ragam Hamsadwani, composed by Sri Guru Madurai R. Muralidaran, serving as an invocation to Lord Ganapathy. Veena player Guru Smt. Durga Krishnan mesmerized the audience, setting a gripping pace with her lilting yet powerful rendition of this timeless ragam. Her fingers danced gracefully on the strings, and as each note resonated in the auditorium, it evoked a sense of wonder that lingered long after the last echoes faded away. Ananya's portrayal of a joyous dancing Ganapathy, along with her depiction of his distinct gait, held a captivating allure. The customary solkattu, woven into the performance through adavus executed with rhythmic accuracy, added an element of panache to the piece. I derived immense pleasure from the remarkable percussion accompaniment by Guru Sri Murali Balachander; the flawless integration of the thavil beats created an immersive experience that truly resonated with the audience.

Ananya's rendition of the Tanjore Quartet’s Ragamalika Jathiswaram was truly fascinating. The esteemed Guru Smt. Tara Anand established the tempo and brought forth a charismatic interlude that commenced with Surutti, cohesively transitioning through Thodi, Atana, Begada, and culminating in Kalyani. Ananya's execution was marked by clarity and finesse, as she perfectly wove together complex rhythmic patterns with poised movements. The interplay between her dance and the diverse melodies of each raga created a harmonious fusion that was both enchanting and delightful to behold.

Encountering "Sarasijaakshalu" performed in different ragams was a refreshing experience, departing from the usual melodies I had grown accustomed to since my childhood. This piece, a traditional Shabdam in Bharatanatyam, beautifully paid homage to Lord Krishna. The dancer skillfully embodied the persona of a devoted supplicant, beseeching Krishna to unveil his lotus-like eyes and shower his benevolence. The choreography masterfully intertwined ornate footwork, demonstrative gestures, and poignant emotions, while the varied ragams infused a unique and invigorating perspective. The resulting harmonization of music, rhythm, and narrative made this segment an evocative highlight. Ananya's amazingly mature execution, despite her tender age of 11, truly stood out to me. She artfully captured the authentic emotions of both Mother Yashoda and the mischievous Lord Krishna indulging in butter, bringing this charming tale to life. The fluid interaction between the orchestra and choreography added depth to this sequence, creating an energetic and engaging depiction. Additionally, I wholeheartedly appreciated Ananya’s nuanced expressions while depicting the exasperated gopikas' interactions with Lord Krishna when he steals their clothes. Her ability to convey these delicate emotions and narratives showcased her impressive talent and potential as a dancer.

The pivotal moment of the performance arrived with the rendition of the Bhakthi Varnam “Paadame Sharan Adainden” in ragam Kalyani, composed by Sri P.R. Venkata Subramanian. The first jathi had me utterly impressed, focusing solely on the footwork and deliberately excluding hand gestures – aptly choreographed to highlight the significance of ‘paadam’. Within the contours of a single line, the Varnam encapsulated significant episodes from the 'Ramayanam', summoning forth a myriad of intense images. Moments like Rama's awe-inspiring feat of breaking Shiva's bow, the encounter with the formidable Thatakkai, and the construction of the stone bridge resonated brilliantly. The dancer's nimble footwork and dynamic movements enlivened each scene, delineating characters and situations with attention and lucidity. The choreography ingeniously knitted the story of Ahalya as a sanchari, impeccably harmonizing it with the overarching narrative. Notably, the dancer's mastery of drishya bhedas was evident as her eyelids gracefully mirrored the tune and rhythm, adding an extra layer of expression. Overall, the execution showcased an appropriate blend of creative prowess and choreographic tact, leaving the audience transported through a rich fabric of emotions and stories.

What came next in the sequence was an enjoyable presentation of "Kuzhaloodi Manamellam." A particular moment that undeniably caught my gaze was the enchanting depiction of "Azhagana Mayil Aadavum." The dancer skillfully embodied the majestic peacock through her articulate body movements, precisely incorporating sudden and dynamic jerky motions that brought the bird's character to life.

In a pleasant fusion of movement and expression, the showcase transitioned to “Sankara Srigiri”, an entrancing composition by Sri Swati Tirunal Rama Varma set in Hamsanandi ragam. Within its framework, Ananya beautifully embroidered the realms of pure dance and abhinaya, narrating the celestial spectacle of Lord Shiva's cosmic dance. With charm and vigor, she eloquently depicted the resplendence of this divine dance, infusing the stagecraft with a dynamic vitality.

Serving as the finale for the evening, Acharya Aishwarya unfurled her creative choreographic vision through the mesmerizing "Kalinga Narthana Thillana" by Sri Oothukadu Venkata Subbaiyar. The composition, a blend of candid devotion and linguistic mastery, showcases a unique rhythm. Jatis and lyrics entwine, richly narrating Lord Krishna's agile dance atop the serpent Kaliya. The presentation revealed a mosaic of detailed nritta and enchanting poses, where Ananya's illustrative mukha abhinaya artfully mirrored her dexterous movements. The contrasting body language between characters, Krishna and Kaliya, added a commendable layer of depth and distinction. The lively rhythm, adorned with absorbing nadais, naturally blended with the melodious cadence. The synchrony elegantly heightened both the presentation and the accompanying pakkamelam. Special applause goes to singer Sri Aditya Venkatesh, who unfailingly maneuvered this demanding piece, a complex achievement to execute live on stage, proficiently aligning the sangatis with the dancer's complex footwork. Acharya Aishwarya's immaculate nattuvangam beautifully harmonized with Mridangist Sri Murali's subtle yet impactful technique, creating a compelling and reverberating synergy.

The orchestra, under the adept guidance of Acharya Aishwarya Balasubramanian, showcased dedicated execution and unwavering endurance, infusing the recital with a positive aura. Vocalist Sri Aditya Venkatesh, Violinist Guru Smt. Tara Anand, Mridangist Guru Sri Murali Balachander, and Veena by Guru Smt. Durga Krishnan provided impeccable support, contributing significantly to the excellence of the recital. Present among the talents was Ananya's sibling, the gifted emerging artist Harshini Magesh. Harshini has already made her mark with appearances on well-known shows such as QFR and Indian Raga. During the intermission, she graced the audience with her musical abilities, enchanting everyone with her rendition of three exquisite songs: 'Karpagavalli Nin,' 'Kurai Ondrum Illai,' and 'Adum Chidambaramo.'

Just as esteemed chief guests Guru Smt. Sunanda Narayanan and Guru Smt. Aparna Balaji noted, this debut concert was truly exceptional. With this incredible start, I extend my heartfelt wishes to Ananya Magesh as she continues to navigate through this beautiful journey of dance.

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