Students of Bharatanjali performing thematic dance performance ‘Praising the Seven Hills’ presented by Anita Guha on September 07, 2022. Photo Credit: Srinivasan KV
Hardly would you ‘sigh’ at a themed Bharatanatyam production, but Anita Guha’s ‘Praise of the Seven Hills’ on Lord Venkateswara made you appreciate her skill and knowledge. As the performance was based on devotional verses and songs written by Sri Muralidhar Swamigal, he built on descriptive songs and beautiful melodies to create a vibrant Bharatanatyam-theatre show.
Students of Bharatanjali performing ‘Praise of the Seven Hills’. Photo Credit: Srinivasan KV
Anitha layered the songs with musical inputs and jathis with the help of PR Venkatasubramanian. One can feel Anita’s dexterity as she blends in combinations and additions, of groups of dancers, and of additional entries and exits, while keeping the momentum going. He achieved all this through a flawless performance by his 32 students in Bharatanjali.
It premiered online during the pandemic for the Global Organization for Divinity’s fundraiser ‘Rise of Margazhi’ II series, and was recently staged live for the first time in Chennai.
The credit for the production must go to Sriranjani Santhanagopalan and Vignesh Easwar (vocals), an expert band of musicians, Revathi Shankarkaran (anchor) and senior disciples like Smriti Sudhakar, Madhavi Prakash, Sanjana Narayanan, Nutan Nair, Sandhya Shankar, Anjali Hariharan. Ravli, evening, rain, etc.
From Bharatanjali’s thematic dance production, ‘Praise of the Seven Hills’. , Photo Credit: Srinivasan KV
Anita lays emphasis on precision in sets, formations, movements, entry and exit. His style being unbridledly theatrical, the enthusiasm in the dance sections can seem exaggerated. Whether it was the addition of synthesizers, no one was sure. Turning down the volume in the recording will help reduce aggressive overtones.
interesting solos
Students of Anita Guha performing ‘Praise of the Seven Hills’, a dance drama based on verses and songs written by Muralidhar Swamigal. , Photo Credit: Srinivasan KV
The first was simply the best: ‘Srinivasa Karavalambam’ (Ragamalika, Misra Chapu), a poetic stanza that described Srinivasa’s beauty in white and blue. There were also interesting solos in between the verses, performed by different groups of dancers in different formations as they swayed in and out. The effect was electric, even ethereal. It’s hard to understate the rigor that goes into achieving split-second timing. Right from the start, when a group of young, bright dancers entered the stage, the atmosphere remained fiery and high-spirited.
Bharatanjali’s ‘Praise of the Seven Hills’ a dance drama by Anita Guha. , Photo Credit: Srinivasan KV
The latter piece was also a combination of two separate events in the temple – the procession of the Lord (Mallari) and the festive folk dance, both interestingly tuned to Gambhira Nattai (Adi). The mallari, presented in different nadis, alternating with the dance, was marked by perfect timing and synchronization.
‘Praise of the Seven Hills’ dance drama by the students of Anita Guha. , Photo Credit: Srinivasan KV
Anitha’s prowess extended to visibility in ‘Oru Nodi En Thiruvaadi’ (Lathangi, Khanda Chapu), which featured a poet (Sneha Vasan), dressed like Sri Muralidhar Swamigal, about the Vamana and Narasimha avatars. I was writing a composition. There was a monogamous dancer-cum-narrator (Sandhya Shankar), who interpreted the songs, and a few dancers who acted out the avatar scenes. Anita’s visual layer was clear and self-explanatory.
There is a sudden change of pace when a padam-like ‘karanam arindiline sakhiye’ describing Alamelumanga (Smriti Vishwanath) yearning to see her lord at the wedding ceremony in ‘Kannara Kanare’ (Anandabhairavi, etc.). Dramatically and unexpectedly the drummer appeared on the scene at the end of the song. The sakhis joined in and the Kalyana Utsavam created a festive atmosphere. There were many things attached to it, and this choreographer did beautifully to keep the momentum going.
The show went on for one and a half hours on its own without any narrative. It ended with a picturesque depiction of the Brahmotsavam of Venkateswara at Tirumala, when he was taken in procession on a palanquin and vehicle in the ‘Bavani Varugindran’ (Ragamalika, Talamalika).
The Chennai-based critic specializes in classical dance.