On August 24, 2024, Boston rasikas were enthralled by the dance of young Divya Rajan, a senior student of Guru Sunanda Narayanan at Lexington Christian Academy. Divya’s senior recital, “Vamsa,” or lineage, exhibited an advanced level of training true to the style of her teacher and her teacher’s teacher, the acclaimed Guru Rhadha of Chennai.

In the last two decades, contemporary Bharatanatyam practice has undergone something of a sea change. Previously, there were strict boundaries between styles, or banis, demarcating distinct lineages within the dance form. Advanced dancers, at least among ourselves, could readily identify whether another dancer had Vazhavoor, Pandanallur, or Rajarajeshwari style training, to name just a few options. These styles were usually named after the villages from which the prominent teachers developed their art before fanning into major cities to teach.

But the advent of the internet, and later, social media, disrupted these demarcations, even as Bharatanatyam exploded in global popularity and circulation. Although more democratic in some ways, these new trends have made it impossible to distinguish between these styles, Signature executions of particular adavus (basic steps), jathi sequences, or abhinaya styles particular to distinct styles faded away or melded into one another. On one hand, mixing and re-interpretation is nothing new and perhaps the internet just sped it up. But on the other hand, this accelerated set of transformations has meant that the imagination of what is possible within Bharatanatyam shrunk. The stories we tell, the execution and sequencing of adavus, the compositions of jathis, and the interpretation of poetry have all become streamlined in ways that may appeal to wider audiences, but also limit the depth of our understanding of the variety within the boundaries of Bharatanatyam.

‘Vamsa’ was a testament to the enduring value of remembering the towering contributions of brilliant artists who produced Bharatanatyam at a volume and quality that is hard to comprehend today, and within specific aesthetic boundaries. Divya’s performance celebrated both vintage and contemporary choreographies of Guru Rhadha and even her Gurus, dating back to Sri Ramaiah Pillai. Divya’s dance re-invigorated styles of movement and even stories that have been all but forgotten in the current moment.

A rare kauthuvam represented the sthalapurana, or temple story, of the Veerateshwar temple in Vazhuvoor, based on events occurring in the nearby forest of Darukavanam. In this story, Shiva overcomes many forms of evil, including a rogue elephant, taking the form of Gajasamharamurthy. Divya navigated the complex lyrical and rhythmic passages with aplomb, a tribute to the story, the place, and the choreographer. A complex, elaborate Swarajathi displayed the physical power, precision, and rhythmic nuance that Divya’s dance lineage is known for. The lengthy central varnam, lasting 40 minutes, an original choreography of Guru Rhadha set to the classic Tanjore quartet’s composition, “Mohamana en meedil,” displayed lengthy sparkling jathis, elaborate, subtle abhinaya passages and a signature mrudanga jathi, set only to mrudangam, a specialty of Guru Rhadha. In a contemporary piece in the second half, Maram, the poetry of Vairamuthu was set to music by Guru Sunanda Narayanan’s mother Sujatha Vijayaraghavan. Honoring the tree through abstract movements that blur the boundary between abhinaya and nritta, Divya’s dance reminded the audience of our connectedness to the environment. The closing section elevated trees to the status of the guru, modeling care and generosity to all who come in contact with it.

The program was memorable in its testament to the extensive learning, talent and tireless work of Divya, who practices dance daily. Divya has already become an accomplished artist, winning multiple top prizes in Bharatanatyam competitions around the country, including top prizes at the Thyagaraja Aradhana and most recently, earning the title “Natya Pratibha” from the New England-wide classical dance competition Tarang. These prizes take on a deeper meaning when we understand the motivation that drives her passion: her quest for embodying the knowledge of her guru and guru’s guru. To have imbibed such extensive knowledge even before heading to college is truly inspiring to dancers and rasikas of all ages. The comments of Guru Sunanda Narayanan, connecting each piece to her own personal memories and experiences, made each dance even more memorable, giving the performance substance and meaning beyond the obvious virtuosity, talent and work of the dancer herself.

|