With a history that goes back more than 2000 years, Bharatnatyam has come down through the centuries, originating in the ancient temples of South India. It is a classical dance form and is a reconstruction of the art of temple dancers. Integrating elements of music, theatre, poetry, sculpture and literature, this multi-dimensional art is part of a dynamic living tradition that offers an infinite scope for understanding and exploring the body, mind and spirit.

Bharatnatyam comprises two distinct components — nritya and abhinaya. Nritya (abstract dance) utilizes a vocabulary of classical steps to create complex rhythmic patterns. Abhinaya (expressive dance) utilizes the language of gesture to express various themes from Hindu mythology, usually of love and devotion. The Pandanallur style of Bharatnatyam is attributed to Guru Meenakshi Sundaram Pillai from the village of Pandanallur in Thanjavur district, Tamil Nadu. The Pandanallur method is distinguished by its emphasis on linear geometry, intensity in nritya, and subtlety and depth of expression in nritya.

An arangetram is a milestone in which a student of Bharatnatyam, after many years of training, at the invitation of her teacher and under her teacher’s guidance, presents her first evening length performance. Arangetram, which means ‘ascending to the stage’, marks the finale of the first phase of study of this rich and ancient art form, and is meant as a launching point for a lifetime of learning and dedication.

This one word arangetram was adequate for me to travel nearly 15,000 km, for more than 15 hours at a stretch. On July 26, 2008, my two lovely nieces, Meghna Kataky and Devika Kataky, daughters of my sister Monika Kataky and brother-in-law Devajyoti Kataky, presented their arangetram at the St Paul Student Centre Theatre, in the city of 10,000 lakes named Minneapolis, USA. Since 2002, Meghna and Devika have been taking Bharatnatyam classes at the Ragamala Music and Dance Theatre at Minneapolis. Established in 1978, Ragamala school offers vigorous training in all levels of Bharatnatyam.

The evening began with the lighting of the ceremonial lamp and the chanting of a Sanskrit sloka, creating a divine atmosphere. Now it was the time for the real performance. And what a performance! The disciplined acrobatic movements of the dancers with the mridangam was simply fascinating for the audience, who also relished the inimitable sound of the flute and violin, assisted by supporting vocals. Meghna and Devika kept a packed audience mesmerised for a couple of hours. They were able to give a clear picture of the various mudras with their intricate body and eye movements. The evening was an innovative experience for the audience as was evident from their contented faces.

Interacting with the Indian people there, I learned the difficulties faced by them to immerse themselves in the Indian dance culture due to lack of amenities and choice. Under such adverse conditions, doing an arangetram was a great accomplishment.

Utpal Das